#Jeremy Ambler

[badmovieihave]

Bad movie I have Child of God 2013

[fearlesshepcat]

Mid Atlantic Nostalgia Convention

Hunt Valley, Maryland

9-15-2017

Photos are of myself and Tommy Cook, Aileen Quinn, Jeremy Ambler, Rusty Gilligan, Gary Conway, Shirley Jones, Dawn Wells, Larry Storch and Cindy Williams

[hwwswebtv]

Walking with The Walking Dead with Actor Jeremy Ambler interview on the Hangin With Web Show

Time for #ThursdayThoughts with The Walking Dead​ Actor Jeremy TWD Ambler​. Co-host Allyson Murray​ had the chance to talk with Jeremy Ambler​ during Authorcon 2​ in Oneonta, New York​ to talk about being a #zombie walker on AMC​'s #hitshow Walking Dead, going to Zombie School, his part on the movie Killing Lincoln​ and what's new coming up for him!

Thank you so much to our friends and partners who help support the show and keep us bringing the World Wide Web our fantastic creators! Some'n Unique Magazine, LLC​, WordFire Inc & WordFire Press​, Space Coast Comixx​, Author Yvonne Mason​ with OFF the CHAIN​ on BlogTalkRadio​, Famous Faces & Funnies​ and Heather Reed​ with Asylum Convention and Entertainment Services - ACES​!

[macandtrouble]

It's Throwback Thursday ! I did this 3-card set for the Fingerlakes comic con back in 2017. Featured are: Jeremy Ambler, Christopher Weite, ZListactor GregoryFrench - all famous 'walkers' from "The Walking Dead".

#tradingcards #comics #horror #walkingdead #ThrowbackThursday #tbt

[joseanzombie2674]

WRONG TURN EL REBOOT DE KM. 666 DESVÍO AL INFIERNO NOS PRESENTA SU NUEVO PÓSTER

WRONG TURN EL REBOOT DE KM. 666 DESVÍO AL INFIERNO NOS PRESENTA SU NUEVO PÓSTER

Tras el tráiler que pudimos ver hace unos días, ahora podemos ver un nuevo póster del reboot de KM 666 que se estrenará en Estados Unidos a partir del próximo 26 de enero.Charlotte Vega, Matthew Modine, Bill Sage, Emma Dumont, Valerie Jane Parker, Chaney Morrow, David Hutchison, Damian Maffei, Dylan McTee, Adrian Favela, Adain Bradley, Jeremy Ambler, Cory Scott Allen, Gary Ray Stearns, Rhyan…

[wineanddinosaur]

We Asked 15 Bartenders: Which Cask-Strength Bourbon Offers the Best Bang for Your Buck?

Cask-strength, also known as barrel-proof or barrel-strength bourbon, is high-proof whiskey — and it’s not for the faint of heart. Straight from the barrel, these bourbons are uncut and typically unfiltered, with no water added, resulting in intense, concentrated flavors — and high alcohol content, upwards of 55 percent ABV, and climbing as high as 80. But their appeal is not all about high-octane booze. Whiskey lovers seek out these bottles for their purity, which allows the ability to customize the proof by adding water or ice.

VinePair asked bartenders from coast to coast which well-priced whiskies they turn to when looking for bottles that pack a punch. Cost is relative when it comes to cask-strength, as this undiluted expression often demands a premium price. But, as these experts can attest, some bottles are worth springing for.

“Right now, I’d say the best ‘bang-for-your-buck’ cask-strength bourbon would be the Four Roses Private Selection Single Barrel. Four Roses releases a yearly cask-strength edition of their Small Batch, which can run you a pretty penny, but the Private Selection Single Barrel is an exclusive release for BevMo, personally selected by Jim Rutledge, master distiller for Four Roses Bourbon. At 56.1 percent ABV and right around $100 for a 750-milliliter bottle, it’s definitely one to snag while it lasts!” — Stephanie Reading, Bar Manager, Birdie G’s, Santa Monica, Calif.

“I think Stagg Jr. is the best bang for your buck for cask-strength. It’s a little more pricey than Knob Creek or Elijah Craig or Maker’s [Mark] Cask Strength, but it is so much better. It is well-balanced, has a beautiful finish, and packs just the right amount of heat. This bottle is for the connoisseur, either to use in high-end, at-home cocktails, or to sip on a cold night by the fire.” — Hannah Brunner, Bartender, Lost Lake, Chicago

“I am a big fan of Wild Turkey Rare Breed. It has a special place in my heart from when I managed a whiskey bar, and often drank pours while cleaning up the bar. It has such a creamy mouthfeel without being too hot or heavy.” — Tim Wiggins, Co-owner/Bar Manager, Yellowbelly and Retreat Gastropub, St. Louis

“Barrell Craft Spirits are in the ‘cask-strength’ business. It’s what they do. All of their limited-edition bourbons are totally pure, without chill filtration and at barrel strength, to bring you as close as possible to the experience of drinking from the cask. There’s an array to choose from, and all come in under $100, so you can pick one that hits all your preferences, or get a little adventurous!” — Maureen Shannon, Head Bartender, In the Valley, Philadelphia

“Smooth Ambler Old Scout Single Barrels have been popping up all over. The older, 10-plus-year-old single barrels are incredible, and the newer, 5-ish-year barrel-strength picks have been calling my name when I get home from a shift lately. [They’re] easy drinking for being high proof, and incredibly affordable, usually around $50 to $55.” — Zach Cable, Bar Manager, Leon’s Full Service, Decatur, Ga.

“Most of my favorite cask-strength bourbons are a bit pricey, so it’s hard to pin down a great ‘deal.’ That said, the Elijah Craig Barrel Proof is pretty hard to turn down. It’s relatively easy to find, and despite the high proof, it’s actually remarkably balanced. Oftentimes, a high-proof bourbon just ends up tasting like ethanol, especially cheaper options, but this one maintains the aromatic complexity that I want in a bourbon, and has quite a nice palate. It does pack quite a punch, though!” — Gavin Humes, Bartender, Scratch | Bar & Kitchen, Los Angeles

“Maker’s Mark Cask Strength is one of my favorite bang-for-your-buck, cask-strength bourbons. I like that the roundness of the wheated base of Maker’s is given more complexity by enhancing the oak and spice notes with its increased proof. I also love that Maker’s unique bottle design, with its hand-dipped wax top, was designed by a woman of whiskey, Margie Samuels, its co-founder. It’s reasonably priced, delicious, and has a wonderful story behind it.” — Crystal Chasse, Beverage Director, Talk Story Rooftop, McCarren Hotel, Brooklyn

“If you can find it, Weller Full Proof has been my favorite cask-strength release of the past several years. When you take the typical Weller flavor profile of green apple or honey and concentrate it, it begins to take on these delightful cherry and medicinal notes [of] anise or mint. The wheat content makes this far softer than most cask-strength releases on the market, so this is a delight to sip straight out of the bottle. Add ice if you please, but only a few drops of water are necessary.” — Andrew Nichols, Head of Mixology, Atlas Restaurant Group, Baltimore

“Elijah Craig Barrel Proof is one of my absolute favorite bourbons, regardless of price. It has a robust nose of caramel and oak, and the finish is spicy and sweet. It also has the unique ability to be cask-strength [without] letting the ethanol shine through — I think mostly due to aging it 12 years.” — Sean Umstead, Owner, Kingfisher and QueenBurger, Durham, N.C.

“If I’m going to pick a bang-for-your-buck, barrel-strength bourbon, I would say Larceny’s Barrel Proof. It’s wheated and offers toasty bready notes with some cinnamon on the nose. On the tongue, it won’t dry you out and has cherry [and] vanilla hints. It drinks easy for a barrel-proof.” — Gregory Huston, Lead Bartender, Elm & Good, Dallas

“Cask-strength bourbons wear their hearts on their sleeves, leaving no flavor to the imagination. I keep going back to Kings County Barrel Strength Bourbon for its truly powerful and seemingly endless string of palate-tickling deliciousness. Dried cherry, dried cranberry, and roasted chestnuts on the nose melt into a palate of ripe fig, black plum, walnut, and Madagascar vanilla. The price is under $100, but they offer multiple bottle sizes, so you can adjust to your budget and snag it for a tasting.” — Jeremy Fowler, Wine and Beverage Director, Zuma, NYC

“I’m going to fudge the rules a little bit on this question, but I think it’ll be OK. My favorite cask-strength bourbon is the Angel’s Envy Cask Strength, which is finished in lovely port barrels and comes in a gorgeous wooden box but sets you back a couple hundred bucks. So while I love it, I don’t suppose it qualifies for the ‘bang-for-your-buck’ category. Not many great cask-strength bourbons do. But one that I love for its high-rye mash bill and have utilized behind the bar for years is Old Grand-Dad 114 — technically not cask-strength, as it is slightly diluted for consistency’s sake, but it’s very high-proof nonetheless and clocks in at around $30. You really can’t beat that in the high-proof category.” — Kristel Poole, General Manager, Corpse Reviver Cocktail Bar, Durham, N.C.

“Personally, I choose Laws as my favorite bang for your buck cask-strength bourbon. Why? Well, it’s delicious, with wonderful notes of vanilla, leather, caramel, and so many other flavors and aromas I search for in a great bourbon. But what you can’t find in most other bourbon is the care and effort the team at Laws puts in. [They’re] a team of dedicated people, doing things the right way, with the right ingredients, making something that is one of my favorite bourbons around. You can replicate flavor, but you can’t replicate hard work and the time it takes to make something special.” — Joseph Shirghio, General Manager and Master Mixologist, Bowen House, Dallas

“Elijah Craig Barrel Proof. I love the pronounced fruit and caramel flavors with a nutty finish that lend themselves nicely to stirred classics. This is a must-have for someone who is looking for a full-flavored, rounder bourbon. It’s rare to see an unallocated bourbon with over 10 years of age at an everyday, mid-shelf price.” — Pete Stanton, Head Bartender, Ai Fiori at The Langham, NYC

“For barrel-proof bourbon, I really like Wild Turkey Rare Breed. It’s got some really complex notes on the nose — anise, burnt sugar, and rye spice — and the higher proof really lengthens and extends the complex palate.” — Laura Newman, Owner, Queen’s Park, Birmingham, Ala.

The article We Asked 15 Bartenders: Which Cask-Strength Bourbon Offers the Best Bang for Your Buck? appeared first on VinePair.

source https://vinepair.com/articles/15-best-quality-cask-strength-bourbon-brands-price/

[johnboothus]

We Asked 15 Bartenders: Which Cask-Strength Bourbon Offers the Best Bang for Your Buck?

Cask-strength, also known as barrel-proof or barrel-strength bourbon, is high-proof whiskey — and it’s not for the faint of heart. Straight from the barrel, these bourbons are uncut and typically unfiltered, with no water added, resulting in intense, concentrated flavors — and high alcohol content, upwards of 55 percent ABV, and climbing as high as 80. But their appeal is not all about high-octane booze. Whiskey lovers seek out these bottles for their purity, which allows the ability to customize the proof by adding water or ice.

VinePair asked bartenders from coast to coast which well-priced whiskies they turn to when looking for bottles that pack a punch. Cost is relative when it comes to cask-strength, as this undiluted expression often demands a premium price. But, as these experts can attest, some bottles are worth springing for.

“Right now, I’d say the best ‘bang-for-your-buck’ cask-strength bourbon would be the Four Roses Private Selection Single Barrel. Four Roses releases a yearly cask-strength edition of their Small Batch, which can run you a pretty penny, but the Private Selection Single Barrel is an exclusive release for BevMo, personally selected by Jim Rutledge, master distiller for Four Roses Bourbon. At 56.1 percent ABV and right around $100 for a 750-milliliter bottle, it’s definitely one to snag while it lasts!” — Stephanie Reading, Bar Manager, Birdie G’s, Santa Monica, Calif.

“I think Stagg Jr. is the best bang for your buck for cask-strength. It’s a little more pricey than Knob Creek or Elijah Craig or Maker’s [Mark] Cask Strength, but it is so much better. It is well-balanced, has a beautiful finish, and packs just the right amount of heat. This bottle is for the connoisseur, either to use in high-end, at-home cocktails, or to sip on a cold night by the fire.” — Hannah Brunner, Bartender, Lost Lake, Chicago

“I am a big fan of Wild Turkey Rare Breed. It has a special place in my heart from when I managed a whiskey bar, and often drank pours while cleaning up the bar. It has such a creamy mouthfeel without being too hot or heavy.” — Tim Wiggins, Co-owner/Bar Manager, Yellowbelly and Retreat Gastropub, St. Louis

“Barrell Craft Spirits are in the ‘cask-strength’ business. It’s what they do. All of their limited-edition bourbons are totally pure, without chill filtration and at barrel strength, to bring you as close as possible to the experience of drinking from the cask. There’s an array to choose from, and all come in under $100, so you can pick one that hits all your preferences, or get a little adventurous!” — Maureen Shannon, Head Bartender, In the Valley, Philadelphia

“Smooth Ambler Old Scout Single Barrels have been popping up all over. The older, 10-plus-year-old single barrels are incredible, and the newer, 5-ish-year barrel-strength picks have been calling my name when I get home from a shift lately. [They’re] easy drinking for being high proof, and incredibly affordable, usually around $50 to $55.” — Zach Cable, Bar Manager, Leon’s Full Service, Decatur, Ga.

“Most of my favorite cask-strength bourbons are a bit pricey, so it’s hard to pin down a great ‘deal.’ That said, the Elijah Craig Barrel Proof is pretty hard to turn down. It’s relatively easy to find, and despite the high proof, it’s actually remarkably balanced. Oftentimes, a high-proof bourbon just ends up tasting like ethanol, especially cheaper options, but this one maintains the aromatic complexity that I want in a bourbon, and has quite a nice palate. It does pack quite a punch, though!” — Gavin Humes, Bartender, Scratch | Bar & Kitchen, Los Angeles

“Maker’s Mark Cask Strength is one of my favorite bang-for-your-buck, cask-strength bourbons. I like that the roundness of the wheated base of Maker’s is given more complexity by enhancing the oak and spice notes with its increased proof. I also love that Maker’s unique bottle design, with its hand-dipped wax top, was designed by a woman of whiskey, Margie Samuels, its co-founder. It’s reasonably priced, delicious, and has a wonderful story behind it.” — Crystal Chasse, Beverage Director, Talk Story Rooftop, McCarren Hotel, Brooklyn

“If you can find it, Weller Full Proof has been my favorite cask-strength release of the past several years. When you take the typical Weller flavor profile of green apple or honey and concentrate it, it begins to take on these delightful cherry and medicinal notes [of] anise or mint. The wheat content makes this far softer than most cask-strength releases on the market, so this is a delight to sip straight out of the bottle. Add ice if you please, but only a few drops of water are necessary.” — Andrew Nichols, Head of Mixology, Atlas Restaurant Group, Baltimore

“Elijah Craig Barrel Proof is one of my absolute favorite bourbons, regardless of price. It has a robust nose of caramel and oak, and the finish is spicy and sweet. It also has the unique ability to be cask-strength [without] letting the ethanol shine through — I think mostly due to aging it 12 years.” — Sean Umstead, Owner, Kingfisher and QueenBurger, Durham, N.C.

“If I’m going to pick a bang-for-your-buck, barrel-strength bourbon, I would say Larceny’s Barrel Proof. It’s wheated and offers toasty bready notes with some cinnamon on the nose. On the tongue, it won’t dry you out and has cherry [and] vanilla hints. It drinks easy for a barrel-proof.” — Gregory Huston, Lead Bartender, Elm & Good, Dallas

“Cask-strength bourbons wear their hearts on their sleeves, leaving no flavor to the imagination. I keep going back to Kings County Barrel Strength Bourbon for its truly powerful and seemingly endless string of palate-tickling deliciousness. Dried cherry, dried cranberry, and roasted chestnuts on the nose melt into a palate of ripe fig, black plum, walnut, and Madagascar vanilla. The price is under $100, but they offer multiple bottle sizes, so you can adjust to your budget and snag it for a tasting.” — Jeremy Fowler, Wine and Beverage Director, Zuma, NYC

“I’m going to fudge the rules a little bit on this question, but I think it’ll be OK. My favorite cask-strength bourbon is the Angel’s Envy Cask Strength, which is finished in lovely port barrels and comes in a gorgeous wooden box but sets you back a couple hundred bucks. So while I love it, I don’t suppose it qualifies for the ‘bang-for-your-buck’ category. Not many great cask-strength bourbons do. But one that I love for its high-rye mash bill and have utilized behind the bar for years is Old Grand-Dad 114 — technically not cask-strength, as it is slightly diluted for consistency’s sake, but it’s very high-proof nonetheless and clocks in at around $30. You really can’t beat that in the high-proof category.” — Kristel Poole, General Manager, Corpse Reviver Cocktail Bar, Durham, N.C.

“Personally, I choose Laws as my favorite bang for your buck cask-strength bourbon. Why? Well, it’s delicious, with wonderful notes of vanilla, leather, caramel, and so many other flavors and aromas I search for in a great bourbon. But what you can’t find in most other bourbon is the care and effort the team at Laws puts in. [They’re] a team of dedicated people, doing things the right way, with the right ingredients, making something that is one of my favorite bourbons around. You can replicate flavor, but you can’t replicate hard work and the time it takes to make something special.” — Joseph Shirghio, General Manager and Master Mixologist, Bowen House, Dallas

“Elijah Craig Barrel Proof. I love the pronounced fruit and caramel flavors with a nutty finish that lend themselves nicely to stirred classics. This is a must-have for someone who is looking for a full-flavored, rounder bourbon. It’s rare to see an unallocated bourbon with over 10 years of age at an everyday, mid-shelf price.” — Pete Stanton, Head Bartender, Ai Fiori at The Langham, NYC

“For barrel-proof bourbon, I really like Wild Turkey Rare Breed. It’s got some really complex notes on the nose — anise, burnt sugar, and rye spice — and the higher proof really lengthens and extends the complex palate.” — Laura Newman, Owner, Queen’s Park, Birmingham, Ala.

The article We Asked 15 Bartenders: Which Cask-Strength Bourbon Offers the Best Bang for Your Buck? appeared first on VinePair.

Via https://vinepair.com/articles/15-best-quality-cask-strength-bourbon-brands-price/

source https://vinology1.weebly.com/blog/we-asked-15-bartenders-which-cask-strength-bourbon-offers-the-best-bang-for-your-buck

[londontheatre]

Steffan Rhodri and Nathaniel Parker in THIS HOUSE at Chichester Festival Theatre. Photo by Johan Persson

Rehearsals began today (Monday 22nd January 2018) for the first UK tour of This House, which opens at West Yorkshire Playhouse on 23 February (national press night 28 February). The cast – who play a colourful host of MPs and Whips – is Ian Barritt (Batley & Morley/Woolwich West/Belfast North/Western Isles & Ensemble), William Chubb (Humphrey Atkins), Giles Cooper (Fred Silvester), Stephen Critchlow (Bromsgrove/Abingdon/Liverpool Edge Hill/Paisley/Fermanagh & Ensemble), James Gaddas (Walter Harrison), Natalie Grady (Ann Taylor), Ian Houghton (Armagh, Ambulance Man, Ensemble), David Hounslow (Joe Harper), Marcus Hutton (Ensemble), Harry Kershaw (Paddington South/Chelmsford/South Ayrshire/Henley/Marioneth /Coventry North West/Rushcliffe/Perry Barr & Ensemble), Louise Ludgate (Rochester & Chatham/Welwyn & Hatfield/Coventry South West/Ilford North/Lady Batley & Ensemble), Geoffrey Lumb (Clockmaker/Peebles/Redditch/Stirlingshire West/Clerk & Ensemble), Nicholas Lumley (Oxshott/Belfast West/St Helens & Ensemble), Martin Marquez (Bob Mellish), Matthew Pidgeon (Jack Weatherill), Miles Richardson (Speaker Act I/Mansfield/Sergeant at Arms Act II/West Lothian & Ensemble), Tony Turner (Michael Cocks), Orlando Wells (Walsall North/Plymouth Sutton/Serjeant at Arms Act I/Speaker Act II/Caernarfon/Clerk & Ensemble) and Charlotte Worthing (Ensemble). Ian Houghton, David Hounslow, Matthew Pidgeon, Tony Turner and Orlando Wells return to This House having previously appeared in the West End production.

James Graham’s critically acclaimed and prescient political drama takes on a new importance in the current political climate. Are we in the midst of a political revolution? Can the country stay united? Roll back to 1974… The corridors of Westminster ring with the sound of infighting and back biting as Britain’s political parties’ battle to change the future of the nation, whatever it takes.

In an era of chaos, both hilarious and shocking, when votes are won or lost by one, there are fist fights in the parliamentary bars, high-stakes tricks and games are played, and sick MPs are carried through the lobby to register their crucial votes as the government hangs by a thread. This House strips politics down to the practical realities of those behind the scenes; the whips who roll up their sleeves and on occasion bend the rules to shepherd and coerce a diverse chorus of MPs within the Mother of all Parliaments.

Directed by Jeremy Herrin with Jonathan O’Boyle, the production is designed by Rae Smith with lighting design by Paule Constable and Ben Pickersgill on tour, music by Stephen Warbeck, choreography by Scott Ambler and sound by Ian Dickinson.

This House is produced on tour by Jonathan Church Productions and Headlong.

Cast Ian Barritt – Batley & Morley/Woolwich West/Belfast North/Western Isles & Ensemble Theatre includes: The Life of Galileo, The Alchemist (National Theatre), The Shawshank Redemption (UK Tour), Rebecca (UK Tour) Handbagged, Remarkable Invisible (The Theatre by the Lake, Keswick), The Lower Depths (Arcola), Hamlet, All’s Well That Ends Well, The Tempest, Troilus and Cressida (Tobacco Factory), Other Desert Cities (English Theatre of Frankfurt), Othello (Sheffield Crucible), Uncle Vanya (Bristol Old Vic/Galway Festival), Kes, Separate Tables (Manchester Royal Exchange), Richard II, Corionlanus (Almeida/New York/Tokyo), Gates of Gold (Manchester Library), One Night In November (Coventry Belgrade).Television includes: Wolf Hall, The Musketeers, Attila The Hun, Doctor Who, Upstairs Downstairs, Doctors, Foyle’s War, Life On Mars, Only Fools and Horse.

William Chubb – Humphrey Atkins Theatre includes: Racing Demon (Theatre Royal Bath), Rosencrantz and Guildenstern Are Dead, King Lear (Old Vic), In The Depths of Dead Love (The Print Room), Lawrence After Arabia (Hampstead Theatre), Waste, Great Britain, Othello, Scenes from an Execution (National Theatre), Richard II (Shakespeare’s Globe), The Vortex, A Midsummer Nights Dream, Love’s Labours Lost (Rose Theatre, Kingston), Yes Prime Minister (Chichester Festival Theatre/West End), The History Boys (National Theatre), The Sea (Theatre Royal Haymarket). Television includes: Close to the Enemy, My Baby, Breathless, Edge of Heaven, Jonathan Strange and Mr Norrell, Law and Order, Silk, The Bill. Films include: 6 Days, Adrift in Soho, Tees, Veer, Affair of the Necklace, Mrs Caldicot’s Cabbage War, Milk, The Woodlanders.

Giles Cooper – Fred Silvester Theatre includes: The Duchess of Malfi, The Knight of the Burning Pestle, Henry V (Shakespeare’s Globe), People, After the Dance (National Theatre), As Is (Arion Productions), Great Expectations (ETT), The Talented Mr Ripley (Northampton Royal), Trilby (Finborough), Dreams of Violence (Soho/Out of Joint), Think Global, F**k Local (Royal Court/Out of Joint), A Touch of the Sun (Salisbury Playhouse), Rafts and Dreams (Royal Court), The Witches (West End), Full Circle (Triumph Ent.), The Witches (Birmingham Rep), Twelfth Night (Bolton Octagon), Across Oka, Rafts and Dreams (Manchester Royal Exchange). Television Includes: Hollyoaks, Consenting Adults. Film includes: The Lady in the Van, Pride, Apollo and the Continents, The Nun.

Stephen Critchlow – Bromsgrove/Abingdon/Liverpool Edge Hill/Paisley/Fermanagh & Ensemble Theatre includes: Filthy Business, Loyalty (Hampstead Theatre), The Men From The Ministry Reloaded (The White Bear), The 39 Steps (The Criterion Theatre), Pygmalion (The Albery Theatre), Hamlet (West End), Cyrano De Bergerac (National Theatre), A Christmas Carol, The Relapse, When We Are Married (Birmingham Rep), Soap, Time of My Life, Twelfth Night, (Theatre Royal Northampton), The Game of Love and Chance (Salisbury Playhouse), Round The Horne Revisited (UK Tour). Television includes: Downton Abbey, Guerrilla, Little Lord Fauntleroy, The Prince And The Pauper, Cider With Rosie, Heartbeat, Red Dwarf 11, Miranda, Coronation Street, Casualty, Holby City, Doctors, Skins, Hattie, Fantabuloza, The Armando Iannucci show, The Railway Murder, The Thieving Headmistress, Trial And Retribution, Blue Murder, Daziel and Pascoe, The Vice, Without Motive, Heartbeat, Walking on the Moon, Baggy Trousers, A Likeness in Stone, A Line in the Sand, The Vice, Back Up, The Bill, Monarch of the Glen. Film includes: A Way Through The Woods, Fogbound, The Calcium Kid, Churchill The Hollywood Years.

James Gaddas – Walter Harrison Theatre includes: The Girls (Phoenix Theatre), Billy Elliot (Palace Theatre), Mamma Mia (Novello), Spamalot (UK Tour), Art (Wyndhams Theatre), Peter Pan (Curve, Leicester), The Messiah (West Yorkshire Playhouse), You Never Know Who’s Out There (Drill Hall), A Passionate Woman (Comedy), Jackie, A Chorus of Disapproval (Lyric Hammersmith), Three Guys Naked From The Waist Down, (Donmar Warehouse). Television Includes: Bad Girls, Coronation Street, Emmerdale, Waterloo Road, Against The Law, Casualty, Holby City, The Camomile Lawn, Medics, Class Act, Troubles, The Bill, Backup, Dogtown, Vincent, Jonathan Creek, Grafters, Heartbeat, Between The Lines, Secrets, El Cid. Film Includes: Starter For Ten, The Human Bomb, Girl’s Night, The Black Candle, Dead Man’s Folly, A Hazard of Hearts, The Pied Piper, Last Days Of Summer.

Natalie Grady – Ann Taylor Theatre includes: Julius Caesar, A Midsummer Night’s Dream (Storyhouse Chester), Brassed Off (Oldham Coliseum), Marth, Josie and The Chinese Elvis (Hull Truck), To Kill a Mockingbird (Regent’s Park Theatre/ UK Tour), Hobson’s Choice (Bolton Octagon). Television Includes: Hollyoaks, Snatch, Trollied, Endeavour, 6 Wives, Coronation Street, Doctors, Jam and Jerusalem.

Marcus Hutton – Understudy Marcus trained at the Guildhall School of Music and Drama. Theatre includes: Private Lives (Nottingham Playhouse), Naomi (The Gate), Slave Island, Don Juan (Manchester Royal Exchange), The Scarlet Pimpernel (Wolsey Ipswich), Crusade (Theatre Royal Stratford East), She Stoops to Conquer (Oxford Stage Company), Tis Pity She’s a Whore (Exeter Northcott), Tess of the D’urbevilles (Horseshoe Basingstoke), Flags and Bandages (Colchester Mercury), Reeling (New Vic Productions), The Lady from the Sea (Portlands Playhouse), Secrets of Cherry on the Run (Riverside Studios), Table Manners (UK Tour), Sound of Murder (UK Tour), Dial M for Murder (UK Tour), Kiss Chase (UK Tour), The Ghost and Mrs Muir (UK Tour), Dangerous Obsession (UK Tour), Suddenly at Home (UK Tour), Jeckyll and Hyde (UK Tour), What the Butler Saw (UK Tour), The Wind in the Willows (UK Tour). Film includes: Made in Dagenham, I’m Here, Cycle, Deep in the Woods, The Dark Channel, The Wager, Framed, Grandma.Television includes: Midsomer Murders, Making Beach, Holby City, Dr Who, Love Hurts, Lovejoy, Diana: Her True Story, A Class Act, The New Professionals, The Inspector Alleyn Mysteries, Crocodile Shoes, Smack The Pony, Hollyoaks, Brookside. Marcus is a founder member of the Radio City Theatre Company.

Ian Houghton – Armagh, Ambulance Man, Ensemble Theatre includes: War Horse (New London Theatre), This House (West End), The Audience, Yes, Prime Minister (Gielgud Theatre), Men are from Mars, Women are from Venus (UK Tour), The Best Man (UK Tour), Boeing Boeing (UK Tour), The Fastest Clock in the Universe (Old Red Lion), Unrestless (Old Vic New Voices), What’s Wrong with Angry? (King’s Head) Moonlight and Magnolias (Hertford Theatre), Woman in Mind, Oliver! (Gordon Craig Theatre) Decade (Theatre503), Art, Gagarin Way, Journey’s End, A Day in the Death of Joe Egg, The Government Inspector, Incorruptible, Absurd Person Singular, Noises Off (The Company of Players). Television includes: Harley and the Davidsons, Mr. Selfridge, Eastenders, Call the Midwife, The Great Outdoors, Waking the Dead, MI High and Moving Wallpaper. Film includes: RocknRolla and Breaking and Entering.

David Hounslow – Joe Harper Theatre includes: This House (National Theatre/Chichester Festival Theatre/West End), The Fall Of The Master Builder (West Yorkshire Playhouse), Queen Coal (Sheffield Crucible), The Empty Quarter (Hampstead Theatre), Way Upstream (Salisbury Playhouse), Too Much Pressure (Coventry Begrade), Warm (Theatre 503), Billy Liar (Liverpool Playhouse), Tamburlaine (Bristol Old Vic/Barbican), A Night At The Dogs (Soho Theatre), The Rise And Fall Of Little Voice (Royal Exchange Manchester), Holes In The Skin (Chichester), Dealer’s Choice, My Night With Reg, Perpetua, First Person Shooter, (Birmingham Rep), Tales From Hollywood, Privates On Parade (Donmar Warehouse), Alcestis (Northern Broadsides), All of You Mine, A Question Of Mercy (Bush Theatre), Othello, Henry V, Coriolanus, The Wives Excuse, Zenobia (Royal Shakespeare Company), Bent (National Theatre/West End), Fuente Ovejuna (National Theatre), Macbeth, Billy Budd (Sheffield Crucible), Our Boys (Cockpit), Treasure Island (Farnham Redgrave), The Snowman (Leicester Haymarket). Film includes: London Kills Me, Captives, Fever Pitch, The Man Who Knew Too Little, I Want You, Tabloid TV, The Flying Scotsman, The International, Defining Fay, Ginger and Rosa, Peterloo. Television includes: The Unknown Soldier, Coronation Street, Othello, Children of the North, Gone to the Dogs, The Bill, Resnick, True Crimes, Minder, Bad Company, Under The Hammer, Anna Lee, Soldier Soldier, Deadly Crack, The Cinder Path, Chandler and Co., Six Sides of Coogan, Crimes and Punishment, Turning World, Is It Legal, Peak Practice, A Wing and a Prayer, Dangerfield, Playing the Field, The Unknown Soldier, Bugs, Within Living Memory ,Casualty, Eastenders, City Central, Bomber, Always and Everyone, Peak Practice, Silent Witness, North Square, Doctors, Heartbeat, London’s Burning, Margery & Gladys, Ultimate Force, Crisis Command, Blackpool, Holby City, The Brief, Doctors, Robin Hood, Jekyll, Dalziel And Pascoe, Is This Love?, Coronation Street, Little Miss Jocelyn, MI High, Dead Set, Bonekickers, Waking The Dead, Spooks IX, Homefront, Foyle’s War, The Bletchley Circle II, Emmerdale, Moving On, Bad Move.

Harry Kershaw – Paddington South/Chelmsford/South Ayrshire/Henley/Merioneth/Coventry North West/Rushcliffe/Perry Barr & Ensemble Harry trained at RADA. Theatre includes: Mischief Movie Night (Arts Theatre), Peter Pan Goes Wrong (West End/UK Tour), The Play That Goes Wrong (West End), One Man Two Guvnors (West End), The Circle Game (Old Vic New Voices).Television includes: Peter Pan Goes Wrong (Christmas Special), Supreme Tweeter, The Interceptor, Omid Djalili’s Little Cracker, Switch, Cuckoo, Wallander, Endeavour. Film includes: Unhappy Campers, Exhibition, Unrelated, Blue Monday, Great Expectations, Skyfall, Rufus Stone, The Date.

Louise Ludgate – Rochester & Chatham/Welwyn & Hatfield/Coventry Sount West/Ilford North/Lady Batley & Ensemble Theatre includes: Iron (Traverse/Royal Court) Lanark, Sub Rosa (Citizen’s Theatre), Sex and Drugs, Greta, Class Act, First Bite (Traverse Theatre), The House of Bernada Alba, Little Otik, Macbeth, Realism, Home (National Theatre of Scotland), Strawgirl, The Adoptive Papers (Royal Exchange Manchester), Trojan Women (Tobacco Factory), World Domination, Resurrection, The Course of True Love (Oran Mor Theatre), When The Dons Were Kings, Guilty, the Course of True Love, Fishwrap (The Lemon Tree), Jeff Koons (UK Tour), Balgay Hill (Dundee Rep), 13 Sunken Years (Assembly Rooms/Finnish National Theatre). Film includes: City of the Blind, Swung, No Man’s Land, Goodbye Happy Ending, Café Rendevous, The Last Ten Minutes. Television includes: River City, Freedom, Taggart, Kissing Tickling and Being Bored, High Times, Sea of Souls, The Key, Spooks, Tinsel Town, Glasgow Kiss, Robert Burns ‘Alive and Kicking’.

Geoffrey Lumb – Clockmaker/Peebles/Redditch/Stirlingshire West/Clerk & Ensemble Geoffrey trained at Bristol Old Vic Theatre School. Theatre includes: Vice Versa, Coriolanus, Much Ado About Nothing, Romeo and Juliet, King John, Shrew, The American Pilot, The Comedy of Errors, A Midsummer Night’s Dream (RSC), King Charles III (UK tour/Australia), Much Ado About Nothing (Lamb Players), Macbeth, Twelfth Night (Filter Theatre Company), Prophesy, Macbeth (Baz Theatre Productions), Fitzrovia Radio Hour Tour (UK tour), Chekhov in Hell (Soho Theatre/Drum Plymouth), Romeo and Juliet (US Tour), Rendezvous with Fear (Fitzrovia Radio Hour), His Dark Materials (Birmingham Rep/West Yorkshire Playhouse), Rendition Monologues (Bridewell Theatre/Queen Elizabeth Hall), The Changeling, Twelfth Night (English Touring Theatre), Hansel & Gretel (Northampton Theatre Royal). Television includes: Holby City, 24: Live Another Day, Doctors, Hollyoaks, Luther, Europe’s Secret Armies. Film includes: Paddington 2

Nicholas Lumley – Oxshott/Belfast West/St Helens & Ensemble Nicholas read Law at Newcastle University before training at the Bristol Old Vic. Theatre includes: Dr Faustus, Don Quixote, Beaux Stratagem, Midsummer Nights Dream, Kiss Me Kate (RSC), Great Britain, NT 50, The Magistrate, After The Dance, Never So Good, Afterlife (National Theatre), Timon of Athens (Young Vic), Sergeant Musgraves Dance, Richard II (Old Vic), Tyne (Live Theatre), Pitman Painters (Royal National Theatre/ UK Tour); Close The Coalhouse Door (UK Tour), Much Ado about Nothing (Wyndhams Theatre), The Company Man (Orange Tree Theatre) Porridge (UK Tour), Looking for Buddy (Live Theatre, Newcastle/Bolton Octagon), The Sound of Music (Apollo Victoria), The Canterbury Tales (Garrick Theatre), Chorus of Disapproval (Lyric Theatre),The Bakers Wife, Richard II, Richard III (Phoenix Theatre), Bellman’s Opera (The Pit), Brighton Rock (Almeida), Little Voice, Rope (Watermill), Oleanna, Educating Rita (Salisbury Playhouse). Television includes: Downton Abbey, Houdini and Doyle, Doc Martin, Parade’s End, Vera, George Gently, Enid, Auf Wiedersehen Pet, The Bill, Lovejoy, Kavanagh QC, Wycliffe, Catherine Cookson’s The Secret, Holby City, Crossroads, Wilderness, Eastenders, Coronation Street, Derailed. Films include: Peterloo, Where Hands Touch, Paddington 2, Lady Macbeth, Winterflight, Stormy Monday Goal!, Right Hand Drive, Across the Universe.

Martin Marquez – Bob Mellish Theatre includes: Husbands & Sons, Anything Goes, Loves Labour’s Lost, Mother Courage & Her Children (National Theatre), Much Ado About Nothing, Imogen (Shakespeare’s Globe), Ah, Wilderness (Young Vic), Cleansed, Identical Twins (Royal Court Theatre), Fool For Love, Front Page (Donmar Warehouse), The Iceman Cometh (The Old Vic), Snowball (Hampstead Theatre) Gondoliers, I Caught My Death In Venice, Insignificance, Pal Joey (Chichester Festival Theatre), The Crucible, Don Juan, Of Mice and Men (West Yorkshire Playhouse), Brothers Marquez (Soho Theatre), Romeo and Juliet (Nottingham Playhouse), Before I Leave (National Theatre of Wales), Blasted (Sheffield Theatres), From Here To Eternity (Eternity Productions Ltd), 4 Knights in Knaresborough (Tricycle), Asylum (Queen Elizabeth Hall), Biloxi Blues (Library Manchester), Boeing Boeing (UK Tour) The Dark Side of Buffoon, The Sea (Belgrade Theatre). Film includes: After Louise, Girl on a Bicycle, A Louder Silence, Les Miserables, The Business.Television includes: The Crown, New Tricks, Elizabeth, Empire, Hotel Babylon, Lead Balloon, Dead Pixels, Bounty Hunter, Modus, Decline and Fall, Suntrap, The Javone Prince Show, The Job Lot, Woody, Vera, Knifeman, Benidorm, The Whale, Twenty Twelve, Falcon – Blind Man of Seville, Holy Flying Circus, Eastenders, Heartbeat, Dirty Tricks, The Plastic Man, Murder Most Horrid, The Bill, In Suspicious Circumstances.

Matthew Pidgeon – Jack Weatherill Theatre includes: This House (Chichester/West End/National Theatre), Salome (RSC), The James Plays (National Theatre of Scotland UK/World Tour), Wolf Hall & Bring Up the Bodies (RSC/Aldwych Theatre/Broadway), Edward II (National Theatre), Midsummer (Traverse Theatre/World Tour), Much Ado About Nothing, The Mysteries (Shakespeare’s Globe), Kyoto (Traverse Theatre) The Wonderful World of Dissocia, Realism, Caledonia (National Theatre of Scotland) The Lying Kind (The Royal Court), The Cherry Orchard, The Wizard of Oz, Vanity Fair, Pinocchio, The Glass Menagerie (Lyceum Theatre Edinburgh). Television includes: Taggart, Casualty, Holby. Film includes: Daphne, The Winslow Boy, State and Main, A Shot at Glory.

Miles Richardson – Speaker Act I/Mansfield/Serjeant at Arms Act II/West Lothian & Ensemble Miles graduated from Arts Educational Drama Collage in 1982, winning the Best Actor award. Theatre includes: Macbeth, Death of a Salesman, The Caucasian Chalk Circle (Newcastle Rep) Another Country (Queens) Romeo & Juliet (Ludlow Festival) Wilfred, A Midsummer Nights Dream, An Inspector Calls, The Contractor (Birmingham Rep) Othello (Theatr Clwyd) Private Lives (Theatre Royal York) Richard II & Richard III (UK Tour) An Evening with Gary Lineker (Lyric) The Seagull (Bromley) Journeys End (Kings Head) Charley’s Aunt, The Three Musketeers (Canizzaro Park) The Picture of Dorian Gray (Westminster Theatre) The Three Musketeers (UK Tour) Romeo & Juliet (Hull Truck) Wuthering Heights, Cause Celebre, First Class Passengers (Pitlochry) The Invisible Man (Stratford East/Vaudeville Theatre/Harold Pinter Theatre) Candida, The Lovers, Playing Sinatra (New End) Lulu (Almeida/Kennedy Center, Washington DC) A Doll’s House, A Midsummer Night’s Dream (Warwick) The Rivals (Wimbledon) The Moment of Truth, Dear Brutus (Southwark Playhouse), Anjin: The Shogun and the English Samurai (Tokyo/Sadler’s Wells), 12 Angry Men (Garrick Theatre), King Charles the Third (Wyndhams Theatre/Broadway) King John (Rose Theatre Kingston) Sleuth (Nottingham) Loves Labours Lost, All’s Well That Ends Well, A Midsummer Night’s Dream, As You Like It, Volpone, Henry IV pt1, Henry IV pt2, Henry V, Henry VI pt1, Henry VI pt2, Henry VI pt3, Richard III (RSC). Television includes: Elizabeth, Highlander, Byron, Inspector Lynley Mysteries, The King Must Die, Porterhouse Blue, Allo,Allo, The Brief, Cambridge Spies, Miss Marple, Doctors, Upstairs Downstairs, Dirk Gently, Doctor Who, Jo, Midsomer Murders, Dancing on the Edge, Sick Note, Lucan, Genius, The Crown. Film includes: Maurice, Harry Potter & The Sorcerer’s Stone, The Best Offer, Beat Girl, The Remains of the Day, Flushed away, A Princess for Christmas, Mindgame, Their Finest, A Quiet Passion, The Colour of Magic, Big Pants, The Return of Sherlock Holmes, Sabotage, Titanic, Peterloo, The Queen of Spain.

Tony Turner – Michael Cocks Theatre includes: Ink (Almeida/West End) This House (National Theatre/Chichester/West End), The Curious Incident of The Dog In The Night Time (West End) Burnt by the Sun, Her Naked Skin, Present Laughter, Playing With Fire, The UN Inspector (National Theatre), Measure for Measure, Big White Fog, Enemies (Almeida Theatre), The House of Special Purpose (Chichester Festival Theatre), The Damned United (West Yorkshire Playhouse/Derby Theatre), The School for Scheming (Orange Tree Theatre) Journey’s End (UK Tour/West End), Personal Enemy (Brits Off Broadway), One Night In November (Belgrade Theatre), The Jail Diary of Albie Sachs (Salisbury Playhouse), Mad World My Masters, Neville’s Island (New Wolsey), Madness of George III (West Yorkshire Playhouse/Birmingham Rep), The Danny Crowe Show (Bush Theatre), Christmas Carol (Stoke New Vic), Talent (Colchester Mercury/Watford Palace Theatre), Communicating Doors (Manchester Library Theatre), Macbeth, Othello (Liverpool Everyman), Romeo and Juliet (Birmingham Rep). Television includes: Delicious, WPC 56, Call The Midwife, Downton Abbey, Loving Miss Hatto, Holby City, Silk, Doctors, Andrew Osler, Maxwell, Party Animals, Gavin & Stacey, Trial & Retribution XIII, Foyle’s War, Derailed, Eyes Down, Red Carp, Coronation Street, Children’s Ward, September Song.

Orlando Wells – Walsall North/Plymouth Sutton/Serjeant at Arms Act I/Speaker Act II/Caernarfon/Clerk & Ensemble Orlando trained at LAMDA. Theatre includes: This House (Chichester Festival Theatre/West End), Noises Off, Tonight at 8:30 (English Touring Theatre), The Woman In Black (Fortune Theatre), Katrina (Bargehouse, South Bank), Our Country’s Good (Watermill), The History Boys (National Theatre), Pirandello’s Henry IV (Donmar Warehouse), A Midsummer Night’s Dream, The Modernists (Sheffield Crucible), The Tempest (Plymouth Theatre Royal), A Midsummer Night’s Dream, Othello, Anthony and Cleopatra (RSC), Treehouses (Northcott Exeter), Deathrap (Vienna’s English Theatre), The Journey of Mary Kelly (Theatre Clwyd). Television includes: Father Brown, Casualty, Holby City, A Very British Sex Scandal, Doctors, Nowhere Left to Hide, Living the Quake, The Machioness Disaster, Slave Dynasty, As If, Trust, A Rather English Marriage, Killer Net, Mosley, After the War. Film includes: The King’s Speech, Midsummer Madness, Zemanovaload, Wilde. Orlando is also a writer for Theatre and Television.

Charlotte Worthing – Understudy Charlotte trained at Oxford School of Drama and East 15 Acting School. Theatre includes Princess Charming (Spun Glass Theatre and Ovalhouse Theatre), These Trees Are Made Of Blood (Arcola Theatre and Southwark Playhouse), A Midsummer Night’s Dream (The Young Shakespeare Company), Twelfth Night (Open Bar Theatre Company), The Absolute Truth About Absolutely Everything (Camden People’s Theatre), The Wind in the Willows (Open Book Theatre Company), The Just So Stories (National Tour for Red Table Theatre Company), Little Pieces of Gold (Theatre503), Wait (Arcola Theatre), The Wasabi Nut (National Theatre of Scotland). Film includes Here and Now, Souljacker, Coincidence. Television includes Panorama.

Creatives

James Graham won the Pearson Playwriting Bursary in 2006 and went on to win the Catherine Johnson Award for Best Play of 2007 for Eden’s Empire. His upcoming and recent plays include The Culture – A Farce in Two Acts for Hull Truck Theatre, Quiz (Chichester Festival Theatre, transferring to the West End this spring), Labour of Love (West End), Ink (Almeida and West End), Monster Raving Loony (Theatre Royal, Plymouth), The Vote (Donmar Warehouse), Finding Neverland (American Repertory Theater), The Angry Brigade (Theatre Royal, Plymouth and The Bush) and Privacy (Donmar Warehouse). His television credits include the award-winning Coalition (Channel 4) and his film credits include X+Y (BBC Films).

Jeremy Herrin is Artistic Director of Headlong, for which he has directed Labour of Love (a Headlong and Michael Grandage Company co-production), Junkyard (Bristol Old Vic/Theatr Clwyd/Rose Theatre Kingston), Observe the Sons of Ulster Marching Towards the Somme (UK Tour), The Absence of War (UK Tour) and The Nether (at the Royal Court and in the West End). For the National Theatre his directing credits include Common (A co-production with Headlong), The Plough and the Stars (co-directed with Howard Davies), People, Places & Things (A co-production with Headlong which transferred to the West End, toured the UK tour and played a sold out run at St Ann’s Warehouse, New York in 2017), This House (Olivier nomination for Best Director), which transferred to Chichester Festival Theatre and the West End in a co-production with Headlong, and Statement of Regret. For the RSC he directed the world premiere of Hilary Mantel’s Man Booker prize-winning novels Wolf Hall and Bring Up the Bodies, which transferred to the West End in May 2014 and Broadway in March 2015 and for which he won the Evening Standard Award for Best Director and was nominated for an Olivier and Tony Award.

Jonathan O’Boyle’s credits include: Pippin (Southwark Playhouse/Hope Mill Theatre), Dear Brutus (Southwark Playhouse), Hair (Hope Mill Theatre/The Vaults), Four Play, Sense of an Ending, Water Under the Board (Theatre503), Bash Latterday Plays (Trafalgar Studios/Old Red Lion), The Surplus, All The Ways To Say Goodbye (Young Vic), The Verb, ‘To Love’, Made in Britain (Old Red Lion), Broken Glass (Central School of Speech and Drama), Last Online Today, Guinea Pigs (Crucible New Writers’ Project, Sheffield Crucible Studio), The Monster Bride (Tristan Bates Theatre). Associate Director Credits include: An American in Paris (Dominion Theatre), This House (Chichester Festival Theatre/West End), The Judas Kiss (Ed Mirvish Theatre, Toronto/Brooklyn Academy of Music), Mack and Mabel (Chichester Festival Theatre/UK Tour), Bull (Young Vic), This Is My Family (Sheffield Lyceum/UK Tour). Assistant Director credits include: The Scottsboro Boys (Young Vic). Jonathan was selected as one of the Guardian’s Rising Stage Stars of 2014.

About Headlong Headlong creates exhilarating contemporary theatre: a provocative mix of innovative new writing, reimagined classics and influential twentieth-century plays that illuminate our world.

Headlong is one of the most ambitious & exciting theatre companies in the world. We make bold, innovative productions with some of the UK’s finest artists. We take these industry leading, award-winning shows around the country & beyond, in theatres & online, attracting new audiences of all ages & backgrounds. We engage as deeply as we can with these communities & this helps us become better at what we do.

Productions have included Labour of Love (Noël Coward Theatre), People, Places & Things (National Theatre/West End/UK Tour/New York), The House They Grew Up In (Chichester Festival Theatre), Common (National Theatre), Junkyard (Bristol Old Vic, Theatr Clwyd and Rose Theatre Kingston), This House (Chichester Festival Theatre and West End), Pygmalion (UK tour), Boys Will Be Boys (Bush Theatre), 1984 (UK and international tours and West End), The Nether (Royal Court Theatre and West End), American Psycho (Almeida and Broadway), Chimerica (Almeida and West End), and Enron (UK tour, West End and Broadway).

https://www.nationaltheatre.org.uk/shows/this-house-on-tour

http://ift.tt/2DXZMmF London Theatre 1

[teoriconcapital]

Despite rising household debt, Canadians’ ability to service it remains unchanged over a decade

Record household debt in Canada has stoked concern that the mountain of debt will squeeze economic growth and trigger the next financial crisis. But a new paper from the C.D. Howe Institute suggests such red flags will be accurate only if the ability to service debt is included alongside traditional measures of household debt relative to disposable income and gross domestic product. Authors Jeremy Kronick and Steve Ambler say including the ability to service debt in the analysis takes into account a growing cushion of assets and net worth that is allowing Canadians to manage their debts. “In contrast to the Bank of Canada’s financial vulnerability barometer, our index … indicates that financial risks are currently quite low,” they say in the paper, referring to the central bank’s measurement that draws together indicators from households, as well as the banking, corporate and housing sectors. “Focusing on debt servicing provides a potential clue as to why we have not seen the type of market correction that has been repeatedly predicted for the Canadian housing market.”

The authors note in the report published Thursday that over the past 25 years, the debt-service-to-disposable-income ratio “has largely been flat” with the exception of a recent “mild” increase and a notable increase before the 2008 financial crisis. Canadians’ net worth – which has been boosted by low interest rates and increased housing prices – has never been higher, according to the paper. And while household debt-to-GDP has increased from around 75 per cent in 2007 to 100 per cent today, household debt-to-net-worth has remained almost identical at around 20 per cent during the period. This provides context to worrying statistics, such as a recent report from the Office of the Superintendent of Bankruptcy that shows insolvencies were up by 8.9 per cent over the 12-month period ending in November last year, the C.D. Howe report says. Insofar as their analysis relates to financial stability, the authors say it has implications for monetary policy — the setting and movement of interest rates — and regulation of the financial sector through risk assessment. “The inclusion of household debt servicing considerably improves the … ability to track financial vulnerability, particularly in advance of recessions,” they write, noting that attention to this metric would result in more accurate risk assessments by regulators. “Financial sector regulators should look beyond traditional credit-to-GDP measures, which were destined to increase in a low interest rate environment at any rate, and closely monitor the behaviour of debt servicing.” For the central banks, the authors say, the key implication is how they view financial stability in managing the “trade-off” between short-term positive effects from increased borrowing on output and inflation, and potentially negative effects in the long run in terms of the servicing of that debt. Read the full article

[the-elizabeth-shepherd]

              Walking Dead JEREMY AMBLER very much alive!  

[lorenmolloy]

When Lila and Nick go missing in Solaris National Forest it’s up to Leo & Dani to go find them. What they discover is the Carnago family living within the National forest using the land as a labyrinth of boobytraps and the people that come in, as food. The cast is packed with talent. Pa Carnago is Jim Krut (known for his role in George A Romero’s Dawn of the Dead) Kif Carnago is Jeremy Ambler (known for his role in The Walking Dead) Rusty Carnago is Rusty Gilligan (known for too many to name) Jeb Carnago is the talented Russell Hackett and Clem Carnago is being played by the talented Neil Young. Check out our leading stars as well. We have Lila played by Sydney Sweeney Nick played by Bryden Di Gennaro Leo played by Lyon Beckwith (known for his role in Wonder Woman 1984) and Dani played by Chelsea LeSage. Make sure to check out the perks of our indiegogo campaign to help support this amazing cast and help make #yieldthehorrormovie a success. Can’t contribute? That’s ok. Please just help us by sharing the campaign so those who can contribute have the chance and by sharing you are helping. Thank you & #HappyHorrors http://igg.me/at/yieldthehorrormovie https://www.instagram.com/p/BzGtoZrliQv/?igshid=uo6ammhddg0u

[tellusepisode]

The Road (2009)

Drama |

The Road is a American post-apocalyptic survival film directed by John Hillcoat and written by Joe Penhall, based on the 2006 novel of the same name by Cormac McCarthy. The film stars Viggo Mortensen and Kodi Smit-McPhee as a father and his son in a post-apocalyptic wasteland.

The film received a limited release in North American cinemas from November 25, 2009, and was released in United Kingdom cinemas on January 4, 2010. It received generally positive reviews from critics; the performances of Mortensen and Smit-McPhee garnered praise. It also received numerous nominations, including a BAFTA nomination for Best Cinematography.

A man and his young son struggle to survive after a global cataclysm has caused an extinction event. They scavenge for supplies and avoid roaming gangs as they travel on a road to the coast in the hope that it will be warmer.

Years earlier, the man’s wife gives birth to their son shortly after the catastrophe and she gradually loses hope. When the man shoots an intruder using one of three bullets they have saved for their family as a last resort, she accuses him of wasting the bullet deliberately to prevent her suicide. Removing her coat and hat, she walks into the woods, never to be seen again. In the present, after shooting a member of a gang of cannibals who stumbles upon them, the man is left with only one bullet. Later, exploring a mansion, he and the boy discover people locked in the basement, imprisoned as food for their captors. When the armed cannibals return, the man and his son hide.

Director: John Hillcoat

Writers: Joe Penhall (screenplay by), Cormac McCarthy (based on the book by)

Stars: Viggo Mortensen, Charlize Theron, Kodi Smit-McPhee, Guy Pearce, Robert Duvall, Molly Parker, Michael K. Williams

►Cast:

Viggo Mortensen…ManKodi Smit-McPhee…BoyRobert Duvall…Old ManGuy Pearce…VeteranMolly Parker…Motherly WomanMichael Kenneth Williams…ThiefGarret Dillahunt…Gang MemberCharlize Theron…WomanBob Jennings…Bearded ManAgnes Herrmann…Archer’s WomanBuddy Sosthand…ArcherKirk Brown…Bearded FaceJack Erdie…Bearded Man #2David August Lindauer…Man On MattressGina Preciado…Well Fed WomanMary Rawson…Well Fed Woman #2Jeremy Ambler…Man In Cellar #1Aaron Bernard…MilitantKacey Byrne-Houser…Woman In CellarJarrod DiGiorgi…Well Fed ManPaul Hodge…MilitantFrederick E. Kowalo…MilitantChaz Moneypenny…Man In Cellar #2Wilson Moore…Boy running from cannibalsNick Pasqual…MilitantPaul J. Rosenburg…CannibalBrenna Roth…Road Gang MemberMark Tierno…Baby Eater

Sources: imdb & wikipedia

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[cryptodictation]

The luxury industry: from exclusive to essential | Economy

The most precious bottle of Givenchy or Dior in these days of viral anguish does not contain one of the exclusive perfumes of these brands associated with luxury, but the hydro-alcoholic gel that they have begun to produce before the great famine in France, as in other countries, of this nowadays well essential to protect yourself from the coronavirus. The consortium that encompasses these exclusive brands, LVMH, began this week to mass-produce in its laboratories the most demanded product in the French country today – together with the masks, a project that has also embarked now – to supply free to hospitals. A decision applauded and replicated by other large French industries, which are beginning to extend the initiative to other countries, including Spain.

This is the case of the French group Pernod-Ricard. The second world spirits consortium announced on Wednesday the donation of 70,000 liters of pure alcohol to the French Cooper laboratory, the main distributor in national pharmacies of the hydroalcoholic gel exhausted in practically all establishments in the country. With this, you can make 1.8 million individual doses. According to Pernod-Ricard, the laboratory has promised to donate, in turn, the amount equivalent to the alcohol received free of charge to “various health associations”.

The pure alcohol necessary to produce gel is “a raw material in very high tension, there are very strong deficiencies. Those of us who do have this resource are the producers of spirits, ”explains Emmanuel Voin, head of communication for the group.

This is being done in France and also in Spain, where the company, which has a plant in Manzanares, has announced that it “places its technical, human and production resources at the service of the authorities to produce hand gel.” In addition, where the multinational has distilleries, it will directly manufacture the desired product. This is the case of the Absolut Vodka plant in Sweden or the American Rabbit Hole (Kentucky), Smooth Ambler (West Virginia) and TX Whiskey (Texas). The French sugar company Tereos, the world's second largest sugar producer – another of the sectors that has large reserves of alcohol – has also announced that it will dedicate “five of its factories” in France to the production of hydroalcoholic gel. The company, which expects to produce 11,000 liters per week, will deliver the product free of charge to regional health agencies and hospitals in regions near its factories, in a gesture, he said, of “contribution to national solidarity” before a “Unprecedented health emergency”.

While Pernod-Ricard and Tereos start engines, LVMH delivered this week the first 19,000 liters – from next week it wants to reach 50,000 liters per week – of the desired gel. And it will also contribute to mitigating the strong shortage of masks in France. As announced by LVMH this Saturday, it has ordered 40 million masks from a Chinese supplier. Bernard Arnault's group will bear the full cost of the first batch of ten million masks, € 5 million, “to guarantee your order during this extremely tense time and to ensure that production begins today,” it said in a statement.

That of masks is a challenge that the French textile industry has joined. The organic jeans company 1083 announced, after the almost total slowdown of its production due to the epidemic, that it was going to dedicate itself to producing masks for doctors, since this is another of the most needed products in the country. And it is not the only one. Some 40 textile companies have proposed to manufacture masks and the first samples have already been approved by the authorities, according to the sector.

L’Oréal also wants to do its part. The French cosmetic giant launched this week a “European coronavirus solidarity plan.” In addition to increasing its production of hydroalcoholic gel, it will prioritize its distribution in hospitals and nursing homes and will also provide, “free of charge”, several million doses to its European food distribution partners “so that its employees, who contribute to supply the basic needs of consumers can be protected ”. The plan also plans to freeze payments due, “until they can resume business” from client hairdressers and small perfumeries.

The coronavirus seems to have awakened a supportive side of the industry that, according to the newspaper Sud-Ouest HEC economics professor Jeremy Ghez could mean a change of model. “Companies are going to have to create more and more shared value, create solutions that give benefits but are also of interest to society.”

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[angrycollectordaze-me-blog]

Assignment代写：Wine Market in China

下面为大家整理一篇优秀的assignment代写范文- Wine Market in China，供大家参考学习，这篇论文讨论了中国葡萄酒市场。近年来，中国葡萄酒市场经历了令人瞩目的增长和大规模的扩张，这是葡萄酒爱好者希望看到的结果。但由于它是一个新兴的行业，很多问题和挑战就在眼前，等待着人们去解决和面对。这不仅是中国政府的责任，也是葡萄酒供应商、葡萄酒爱好者和消费者的责任。

Recently, Forbes claimed that an estimated 30,000 bottles of fake wines are sold in China every hour. The famous Australian wine critic Jeremy Oliver also estimated that 50% of wines in China are fake wines (Ambler). After reading this article carefully, it can be found that the data is a bold estimate by the Inter professional Council of Bordeaux Wine. Although this data is exaggerated, wine market in China do have some problems worth paying attention to in spite of fake wines. This essay will first points out three main problems of wine market, for example, a lack of wine diversity and wine education, immature wine market in China and then discuss the possible solutions to solve the problems from different perspectives.

As a wine lover, people would like to get access to a diversity of wines from different countries and regions so they could taste different styles of wines and feel the various terrior. However, due to the immature development of wine market in China, it is not strange that wine enthusiasts like me cannot always find reliable suppliers or shops to buy fine wines. Actually, it is not difficult to find wines in supermarkets or shops. But as people develop their wine tasting skills, wines sold in the supermarkets or shops could no longer meet their requirements. Since wines sold in supermarkets and shops usually tend to be cheap wines or relatively low-quality wines. People could easily buy cheap wines from new world like Chile, but getting a bottle of Grand Cru Classe 1855 or a bottle of Rioja Gran Reserva is not as easy as that. Bordeaux red wines especially Cabernet Sauvignon counts the biggest part in the market. Syrah, Merlot and Chardonnay also can be found in some shops, but not as much as Cabernet Sauvignon. Compared to red wine, white wine only counts for a small portion in the market.

In spite of the wine diversity and wine supply problem, a lack of wine education in China is also worth mentioning. Although according to the drinks business, demand for wine and spirit education keeps increasing and China witness great growth with 12813 participants, ranked second following the United Kingdom (French). It is suggested that most people taking participate in the WSET courses are wine professionals instead of general wine lovers and consumers. Therefore, the figure only indicates that wine education among wine professionals in China keeps raising. Most wine consumers still know little or nothing about wines. Since they have little knowledge of wine, they could not recognize whether this wine is corked or not,let alone the quality and style of wine. Therefore, they are easily cheated by some dishonest wine salespeople. For students who want to know more about wines, the course fees of WSET is too expansive, causing them find no way to get systematic study.

As the supervisor of wine market, government should take the responsibilities to regulate wine market. Currently, Chinese government has taken comprehensive actions to monitor the quality and regulate the wine market. For example, Ministry of Commerce of the People's Republic of China released Norm on Technology of Imported Wines in 2015. This regulates the translation of wine-related terms, such as the translation of chateau and wine region, wine grape varieties and so on.

However, many problems still remain to be solved. First, As a result of the booming economy, the imported wine industry witness an impressive expansion. But wine market in China is quite a mixed bag. Some dishonest businessmen take advantage of the insufficient laws and regulations and sell fake wine to customers. Some wines has been smuggled in so the wine suppliers could avoid paying taxes to the government. Therefore, government should establish new laws and regulations to punish dishonest businessmen and award the wine company that obey the rules and laws. Only releasing new laws and rules is not enough, the crucial thing is to execute effectively. This needs the government to organize different departments to work together. Otherwise, the wine market would remain to be unregulated.

Second, government should encourage the development of wine industry from various perspectives, such as from financial aspect and educational aspect. For Financial aspect, government could encourage the local emerging wineries by providing basic infrastructure such as electricity, irrigation, loans for purchasing wine-related equipment and funds to recruit foreign wine professionals. With the help of the financial support of the local government, the new wineries could focus more on their planting and operating. For educational perspective, currently there are only a small number of universities opening wine courses and wine-related majors. People who would like to study and research the wine could hardly find the right place to explore the wine world. Although there are some wine courses provided by Wine and Spirit Education Trust and International Sommelier Alliance, the course fees are relatively expansive. For students who do not have income, they still cannot get official and systematic wine education. Only by education, wine culture could be promoted and understood. The government should also establish the system for training wine-related professional such as winemakers, grape growers, wine marketing staff and sommeliers. On the other hand, it is of great importance for local wineries to learn from foreign wineries and study the advanced wine making skills. Government could organize wine professionals to go abroad to study or cooperate with foreign wineries.

Apart from government, wine suppliers or wine importers also should find the target consumers and educate them properly. Since most Chinese consumers even do not know wine is divide into red wine and white wine based on wine color. When referring wine, they believe it is red wine (Liu and Murphy 101). However, a small number of wine consumers do know much about wine, some of them even have passed WSET level 3. The complicated situation of wine market in China requires wine suppliers and importers to find out different requirements of different consumers. Fortunately, some wine suppliers have narrowed their target customers to a specific group. For example, a increasingly popular online wine shop on Taobao called Miss Yuan’s wine shop maily sells sweet wines. According to their website, their main target customers are young women who pursue fashion and attach great importance to life quality. Compared to dry wine that is not easily accepted by people, sweet wines attract more attention and could be matched up with food and drank easily. Miss Yuan’s shop has successfully seized the heart of a specific group of wine consumers and ranked top 50 among wine shops on Taobao within a very short time. Since fans of Miss Yuan’s wine shop trust its brand, Miss Yuan’s shop has began to enrich wine catalogue on their online shop. It is a successful case and other wine suppliers should learn a lesson from them.

Not only wine suppliers as well as government should take actions, wine consumers also could take some measures to make contribution to wine market in China. The thing they could do it to educate and improve themselves. In terms of not getting access to fine wines, wine lovers actually could refer to the following suggestions. First, attending master classes and wine tastings organized by wine organizations and wine masters. For example, James Suckling, one of the most famous wine writers and critics in the world holds Great Wines of the World almost every year. This event usually takes place in Hongkong in November. In this event, people could get access to taste top wines and fine wines in the world such as Mouton Rothschild, Opus one and La Rioja Alta from the most influential wine regions. Wine tastings organized by regional wine organization such as Wines of Chile often provide local varietals for participants to taste. It is also a good chance for wine lovers to taste uncommon wine styles. Second, Instead of going abroad, people could take advantage of online wine shops to get fine wines and taste diverse styles of wines. With the help of fast development of E-commerce and Cross-border E-commerce, it is no longer difficult that people could buy wine around the world only by a computer. Hongkong and Macau are also good choices for wine lovers to search fine wines and uncommon wines, since they have a much more mature wine market compared to mainland China.

Wine market in China witness impressive growth and massive expansion in recent years, It is a result that wine lovers would like to see. But since it is a emerging and new industry, many problems and challenges are around the corner, waiting people to solve and face them. It is not only the responsibilities of Chinese government, but also the responsibilities of wine suppliers and wine lovers as well as consumers.

Works Cited:

Ambler, Pamela. “China is facing an epidemic of counterfeit and contraband wine.” Forbes,

27 Jul. 2017. www.forbes.com/sites/pamelaambler/2017/07/27/china-is-facing-an-epidemic-of-counterfeit-and-contraband-wine/#212475ff5843. 9 Aug. 2017.

French, Phoebe. “Demand for wine and spirit education at record high.” The Drinks Business, 3 Aug. 2017. www.thedrinksbusiness.com/2017/08/demand-for-wine-and-spirit-education-at-record-high. 9 Aug. 2017.

Liu, Fang, and Murphy Jamie. "A qualitative study of Chinese wine consumption and purchasing: implications for Australian wines." International Journal of Wine Business Research 19.2 (2007): 98-113.

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[mikemortgage]

Hold the panic: Maybe Canadians aren’t facing a debt insolvency crisis after all

For much of the last decade, Canadians have been told their debt levels were unsustainable and that their day of reckoning was fast approaching. Data recently released by the Office of the Superintendent of Bankruptcy (OSB) seem to indicate that day has arrived. According to the data, insolvencies by Canadian consumers were up 9.2 per cent in October 2018, compared to a year earlier.

To say the least, these results appear alarming. But in light of what we know about homeownership and net worth, we are not so sure. The data show that Canadians’ net worth has never been higher. Moreover, the data do not distinguish between the more harmful economic effects from households in negative net asset positions, or balance sheet insolvency — where one remains in debt even after selling one’s assets — and cash-flow insolvency, better known as illiquidity.

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Before the financial crisis, Canadians’ household net worth was a little over seven times disposable income. It dipped during the financial crisis, bottoming out at 6.25 times disposable income. However, since then, with low interest rates boosting housing prices, we have witnessed a mostly continuous upward trend, and in the third quarter of 2018, net worth was almost nine times disposable income. Moreover, while debt to GDP has increased from 75 per cent in 2007 to 100 per cent today, debt to net worth is almost identical, at around 20 per cent.

Most people’s first reaction to the different stories told by the OSB and wealth data is likely that the rich have been the ones to gain most from increases in house-price values. Indeed, it is possible that average net wealth has increased despite a more unequal distribution of wealth, leading to a deteriorating net wealth position for many Canadians.

However, between 1999 and 2012, total wealth in Canada for households in both the top and bottom income quintiles grew at approximately the same rate, meaning both income quintiles held about the same percentage of total wealth at the end of this period as they did at the beginning. In other words, the inequality explanation appears insufficient.

An alternative explanation is that the Bankruptcy and Insolvency Act includes both “cash flow insolvency” and “balance sheet insolvency” but does not distinguish between the two — and the OSB data reflect this fact. Balance sheet insolvency entails a negative net asset position. On the other hand, cash flow insolvency refers to the difficulty meeting payments on one’s gross debt because of the difficulty selling one’s assets. This type of insolvency is commonly referred to as illiquidity.

Much of Canadians’ assets are in the form of real estate. Although it is possible to refinance a home, it is of course impossible to sell a fraction of a house in order to help pay off consumer debt. So as interest rates rise, as they have in part due to five hikes to the overnight rate by the Bank of Canada since the middle of 2017, Canadian households start feeling the illiquidity pinch.

But that is not the same as balance sheet insolvency. For a Canadian household to truly be insolvent in this sense it would have to be the case that once they did sell their assets — real estate or otherwise — they were still unable to pay off their remaining debts. And here the data are unclear as the only distinction is between bankruptcies and consumer proposals, which are an alternative to bankruptcy where the lender and borrower strike a deal where the latter pays back a portion of their debt over the ensuing five years, and, critically, does not have to sell their house.

Consumer proposals increased 15.8 per cent, while bankruptcies only went up 1.8 per cent. With stable debt to net worth, and two-thirds of Canadian households owning homes, it could be that the bulk of these consumer proposals are a result of illiquidity concerns.

By no means are we suggesting all is well. Indeed, consumer proposals were up across the country, and this fact should be reason enough to focus the minds of policy-makers.

But with what we know about rising net worth over the last decade, it is not yet time to ring the alarm bell.

Steve Ambler is the David Dodge Chair in Monetary Policy at the C.D. Howe Institute, and professor of economics at the Université du Québec. Jeremy Kronick is associate director, research, C.D. Howe Institute. ​

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[jamesgeiiger]

The Bank of Canada needn’t overhaul its 2% inflation target. It’s a proven success

There are signs of strain in the Bank of Canada’s monetary-policy framework that has served Canadians so well over the past quarter-century, delivering low and stable inflation.

Apparently aware of the challenges ahead, the bank’s senior deputy governor, Carolyn Wilkins, went so far as to say in a recent speech that the bank will review all its policy options leading up to the next renewal (in 2021) of the inflation-control agreement between the federal government and the Bank of Canada. While some cracks are appearing, we would argue tweaks are all that is required.

The Bank of Canada has targeted inflation since 1991 and kept the target at two per cent since 1996. The inflation-targeting framework has delivered stable inflation that averaged almost exactly two per cent from 1996 until the arrival of the financial crisis and recession of 2008-09. Unfortunately, average inflation has been below target since then. Coupled with a sluggish recovery, this systematic below-target inflation suggests the framework is showing some signs of strain.

One of the major challenges for monetary policy today is that real interest rates are lower now than before the recession. The implication is that the nominal “neutral” rate of interest — compatible with the economy at full capacity and inflation at the 2 percent target — is also much lower. As a result, central banks like the Bank of Canada now have much less room to lower rates in response to negative economic shocks.

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Low interest rates have also led to increased household indebtedness, which the bank has been monitoring closely since the financial crisis. The good news is that lower interest rates have allowed households to carry higher mortgages without much of an increase in their debt-servicing costs. However, a greater danger exists from a drop in housing prices if economic activity slumps, since Canadian households are much more leveraged than before, and falling housing prices could lead to a deleveraging cycle that negatively impacts consumption spending.

Also problematic is the impact of an aging population. Changing demographics here and abroad have no doubt contributed to the fall in world real interest rates, but they have also acted as a drag on monetary policy effectiveness. This helps to explain the systematic undershooting of inflation since the financial crisis in Canada and in other inflation-targeting economies. In turn, this suggests that the Bank of Canada will have to make more significant changes to the overnight-rate target to affect aggregate demand and inflation than it did in the past, which is of course more difficult in a low-interest rate environment.

This low-interest-rate, below-target-inflation environment is the driving force behind the consideration of alternative frameworks. And there is no shortage of options for the bank being discussed: higher inflation targets, extending the period with which we measure inflation, and a dual mandate of inflation and economic growth, among others. We believe, however, that the success of the two per cent target sets a high bar for change. In addition, the bank can deal with the foreseeable problem of interest rates being too low to go lower by turning to quantitative easing. This could be done with only minor adjustments to the bank’s implementation of monetary policy.

In order to stimulate the economy during severe recessions the bank has to generate real (after inflation) interest rates that are actually negative. When the nominal interest rate is stuck at its effective lower bound, the only way to achieve this is by increasing inflation expectations. In order to make quantitative easing effective, the bank needs to target a permanent increase in the money supply. Despite the bank reducing the attention it pays to money supply — even omitting monetary aggregates from its Monetary Policy Report — the amount of money circulating in the economy remains a valuable metric for measuring, and forecasting, inflation and economic stability.

We wrote in our newly published book, Navigating Turbulence: Canadian Monetary Policy since 2004, that wheels typically are not repaired unless they are broken, and therefore we thought it unlikely that the Bank of Canada would revise its monetary policy framework in any major way unless there is another significant crisis and/or recession. However, the senior deputy governor’s speech suggests we may have been wrong on this front. If a change in the framework is truly being considered, we hope the Bank of Canada will consider tweaks instead of an overhaul. Following the money is a good start.

Steve Ambler is the David Dodge Scholar in Monetary Policy at the C.D. Howe Institute, and professor of economics at the University of Quebec at Montreal. Jeremy Kronick is associate director of research at the C.D. Howe Institute.

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