Tag Archives: Glasgow

NEWS: FIRST NEW PRODUCTION IN 25 YEARS OF GREASE AT KING’S THEATRE

Following a highly acclaimed sold out 8-week run at Curve, the first new production in 25 years of Jim Jacobs & Warren Casey’s iconic musical GREASE will tour the UK and Ireland in 2019, with a stop in Glasgow.

Directed by Nikolai Foster and choreographed by Arlene Phillips, the electrifyn’ show will run at the King’s Theatre from Tuesday 27 – Saturday 31 August 2019.

Casting is to be announced.

Nikolai Foster is Artistic Director at Curve, which has just celebrated its 10th birthday. For Curve, Nikolai has most recently directed An Officer and a Gentleman – The Musical, Scrooge, Sunset Boulevard, which won Best Musical at the Manchester Theatre Awards and Best Regional Production at the WhatsOnStage Awards, Legally Blonde (also Opera Garnier, Monaco & Daegu Opera Festival, South Korea), Breakfast at Tiffany’s (also Theatre Royal Haymarket, London & UK tour) and A Streetcar Named Desire. Nikolai’s production of Annie completed a successful run at the Piccadilly Theatre, London earlier this year and is about to transfer to the Mirvish Theatre, Toronto.

Nikolai Foster said: “We are looking forward to working alongside Jim Jacobs, Colin Ingram and Arlene Philips on the return of our critically acclaimed, Made at Curve production of GREASE. Jim Jacobs and Warren Casey’s musical is an electrifying celebration of the birth of cool and teenage culture. It provides a gripping snapshot of a country on the cusp of social change, all set to one of the greatest rock ‘n’ roll scores ever written. Curve audiences love GREASE and we are immensely proud to be sharing our production with audiences across the UK.”

Grease

King’s Theatre, Glasgow

Tue 19 – Sat 31 Aug 2019

ww.atgtickets.com/Glasgow

 

WHAT’S ON NOVEMBER: The Ragged Trousered Philanthropists brought to life on stage

Townsend Theatre Productions has announced the return of its critically acclaimed stage adaptation of Robert Tressell’s 1914 novel, The Ragged Trousered Philanthropists.

For the first time ever this new version of the play will be presented as a single performer show, featuring writer and actor Neil Gore, and will comprise an Edwardian Magic Lantern Show, political conjuring tricks and live music and song as the audience joins the performer through the events surrounding the renovation of a large townhouse, meeting the many familiar and infamous characters from the book.

Between 2011 and 2015 the company toured a two-man version of the show in a variety of venues across the country, receiving four and five star reviews from The Times, Liverpool Echo, Whatsonstage, and a recommendation from veteran film director Ken Loach.

Due the warm reception the play received across the country, Gore and director Louise Townsend have revised the production, transforming it into a one-man show complete with speeches, audience participation and songs from the classic book, featuring the Great Money Trick as its centrepiece.

The Ragged Trousered Philanthropists is a unique document. A novel of humour and sharply observed characterisation, it is also a passionate defence of socialist ideas and one of the first truly imaginative portrayals of life written from a working-class perspective.

The book charts a year in the lives of a group of painters and decorators in the town of Mugsborough at the turn of the last century. Haunted by fears of unemployment, the men struggle to keep their jobs at any cost but, in the course of events, some of them begin to realise that their condition of miserable poverty is neither ‘natural’ or ‘just’.

These workers, the ‘philanthropists’ of the title, who throw themselves into back-breaking work for poor wages to generate profit for their ‘masters’ are joined by an artist, Owen, whose spirited attacks on the dishonesty of capitalism, along with his socialist vision, highlight their workplace exploitation and the inequality in society as a whole.

Writer and adapter of the book, Neil Gore said: “The Ragged Trousered Philanthropists was published originally in 1914, but the themes explored in the book are still relevant today. When Tressell wrote the book, Britain was on the brink of war, and the majority of the population were living in a very tight economy with low wages and appalling working and living conditions.

“Questions were being raised about the reliability of those thought to be ‘masters’; and the capitalist system was under scrutiny by those who considered it responsible for massive and growing inequalities in society. These themes will resonate with many working and living in our current regime of austerity, where wages and working conditions are squeezed and where many struggle for the basic necessities of life in the midst of spiralling rises in the cost of living and housing. Meanwhile the richest in society just seem to be getting richer. Recent Government policy would seem to be driving us backwards into the vast inequalities that existed in Tressell’s time.

“What’s so special about the book, and what to expect from the play, is how it relates so closely to everyone’s experience of work: the workplace hierarchy; petty and amusing incidents of workplace rivalry; workers’ good-natured humour and banter; hostility to political change and the acceptance of greed as inevitable and a natural way of life.

“All these aspects of life will be portrayed through theatrical tricks, songs, Magic Lantern projection and skilled performance of lively, relevant characterisation and rich storytelling offering a good night out for all.”

November 15th Glasgow TUC
For more information visit: http://www.townsendproductions.org.uk/

WHAT’S ON OCTOBER: A Super Happy Story (About Feeling Super Sad)

Award-winning theatre company Silent Uproar is bringing its critically acclaimed musical cabaret about depression to Glasgow after wowing crowds and critics alike at last year’s Edinburgh Fringe.

As part of its first ever UK tour, Silent Uproar presents A Super Happy Story (About Feeling Super Sad) at Tron Theatre from 25 to 27 October. Written by Olivier award-winner Jon Brittain (Rotterdam, Margaret Thatcher Queen of Soho) with music by Matthew Floyd Jones (Frisky and Mannish), prepare to laugh, cry and even get a song or two stuck in your head.

Influenced by the company’s personal experiences and informed by interviews with people living with mental health problems and medical professionals, it’s a joyful, buoyant, gleeful, slightly silly, sugar coated, unrelenting and completely super happy show! Except for all the bits about depression.

The show is supported by NHS Hull Clinical Commissioning Group, which has not only funded performances at the University of Hull to raise awareness of mental health issues among students, but also arranged for the cast and crew to have mental health awareness training via Hull and East Yorkshire MIND. Silent Uproar is also hoping to have mental healthcare professionals at each performance. The idea is that if anybody is affected by the issues in the show, they will be able to talk to somebody afterwards.

Alex Mitchell, Artistic Director of Silent Uproar said: “We wanted to make a show that was entertaining, accessible and discussed depression without being a depressing show. From suffering with anxiety and bouts of depression, and seeing friends and loved ones suffer, I wanted something that said ‘do you know what it doesn’t matter if you feel sh*t today, it’s okay not to be okay. And most of all it’s okay to talk about it because the talking helps’.”

Silent Uproar is pioneering Pay What You Decide across this tour. Although commonly used by some venues, this is thought to be the first time a theatre company has used it across a tour. It is hoped the ‘try before you buy’ model adopted by the likes of Netflix, will attract new and more diverse audiences and more venues across the country will use it as a tool to develop audiences who might not currently think theatre is for them.

Dan Roper, Chair of NHS Hull Clinical Commissioning Group, said: “Approximately one in four people in the UK will experience a mental health problem each year and worries about things like money, jobs and benefits can make it harder for people to cope.

“There is a growing body of research evidencing the positive role of the arts on health and wellbeing. We also know there is a strong link between poverty and mental health, yet low income can be a barrier to accessing the arts. By allowing audience members to pay what they can afford, this barrier is being removed, in effect putting them in control of their own social prescription.

The comedic and production style of the show draws from sources as diverse as Scott Pilgrim vs The World, Pixar’s Inside Out, Juno, and musicals like Cabaret and Chicago. The show won the Fringe First Award and Best Musical Award at last year’s Edinburgh Fringe.

To coincide with the show’s run at Tron Theatre, Tron Creative will be hosting several workshops addressing mental in the performing arts. These workshops are open to both members of Tron Theatre’s MAKER professional membership scheme, as well as non-members. Participants are invited to explore Self-Care in Conscious Theatre Practice with yoga instructor Lou Prendergast, as well as workshops focusing on Psychological Wellbeing in the Performing Arts with Dr Jane Oakland, an accredited BAPAM practitioner (British Association of Performing Arts Medicine) and professional opera singer.

 

WHAT’S ON SEPTEMBER: New performance about men and power discusses the rapidly changing landscape of Brexit Britain.

First performed to a shell-shocked audience the day Trump was elected back in 2016 – innovative performance artists and theatre makers Two Destination Language look at changing roles for men, the ‘safe spaces’ they build themselves, and how much they love wires. Tracing the history of Britain’s industrial decline since the 1975 vote to remain in the EU, Manpower admits the possibility: men haven’t worked for decades. 

(c) Alex Brenner

Manpower is on tour this autumn across Scotland and England. After a successful run of Fallen Fruit at Summerhall this Edinburgh Festival Fringe – a play about Bulgaria in the 1980s and 1990s and the parallels to today in the EU after the wall fell in Berlin 89, Two Destination Language are back on stage with a piece they created between the Brexit Vote and the shift to the right in US politics. 

(c) Alex Brenner 

The devised work is another very personal two-hander exploring how creators and performers Kat and Alister see, feel and think about gender, work and power. A lot has changed over the last century for men – traditional roles and expectations of masculinity are in flux. With these roles changing, continued privilege afforded to ‘the white male,’ and a political climate in which uses the marketing techniques of capitalism to shape fears and drive votes to allay them, Manpower has a lot to talk about. 

(c) Alex Brenner 

The show itself revolves around a wooden building, DIY live, built on stage…. As Alister builds Kat begins to tell the story of her perception of the British working class. As the show unfolds, against period-defining music tied to moments, movements and happenings all will be familiar with, the politics becomes more troubling and futile vacuity of political language is laid out. This is a performance by two people, about the situation we ALL find ourselves in today, and how the words that created it have become part of the problem. 

(c) Alex Brenner 

Two Destination Language have adopted a way of working that suits the current climate for theatre makers, bringing in practitioners from specialisms across the theatre spectrum to help get ideas onto the stage. For this show they are delighted to be working with dramaturg Ben Francombe who has previously worked with 1927Search Party and Paper Birds 

Led by artists Katherina Radeva and Alister Lownie, Two Destination Language’s work explores questions of identity, belonging and culture. 

LISTINGS 

26th – 27th September – 8pm, Traverse Theatre, Edinburgh  

29th September – 7.30pm, Tullynessle & Forbes Hall 

11th October – 8pm, Lyth Arts Centre, Wick  

24th October – 8pm, Beacon Arts Centre, Greenock 

25th October – 7pm, Platform, Glasgow 

Images: Alex Brenner

INTERVIEW: Scottish actor Martin Docherty currently touring Scotland with acclaimed play McLuckie’s Line.

Scottish actor Martin Docherty, who is currently touring Scotland with McLuckie’s Line chatted with Glasgow Theatre Blog about this hugely acclaimed show, coming to Glen Halls in Neilston on Tuesday 25 September and Eastwood Park Theatre on Wednesday 26 September.

Tickets are £9, available from: https://www.eastwoodparktheatre.co.uk/article/9670/McLuckies-Line.

Tell us a little bit about the play.

The play is a funny, sad , raw hard hitting monolougue about Lawrence McLuckie , an out of work actor and compulsive gambler who is waiting in a hospital corridor for his first session of Chemo after being diagnosed with cancer. He is also waiting on a call from his agent about the biggest part he will have ever had. He can’t stand the silence so he begins to talk.

And your role…

McLuckie’s Line is an old fashioned working class tale where I play 32 characters!

McLuckie is a nice guy who has been dealt a bad hand. He’s a great actor but like most actors he struggles to get work. He has always seen life as a bit of a gamble but the stakes are really high. He ponders his life as he faces his mortality.

How has the play been received so far, has it been different in different locations?

The play is very Glaswegian and goes down a storm in Glasgow and the surrounding area but it is also going down well in Inverness, Dundee and Stirling. People no matter where can relate to Mcluckie or other characters in the play.

What is life like backstage on tour?

Life backstage on this show is different from any other I’ve done mainly because I’m on my own. It can get a bit lonely. I have to ensure the lights, sound queues etc are spot on and ensure before I leave the house that I have everything as there is no stage manager. I feel I’m learning all the time though I could do with a chum now and again.

Touring can be demanding, how do you keep your performance fresh/look after yourself when you’re having to travel as well as perform on stage at night?

The travelling and performing is something I’m used to as an actor.  It can be tough and a little stressful relying on Scotrail. I tend to get to the venue around 2.30pm, run the technical stuff then try and relax. Then ensure I have a good meal and get home asap to get enough sleep. It’s tricky trying to peak at 7.30pm but like I say I’ve been acting for 21 years so my body is used to it, I guess.

Can we go back a bit and talk about what inspired you to become an actor and the path you took to become one?

I started acting when I was 10 years old thanks to my sister who was in an amateur company. My first part was the Artful Dodger in Oliver. I auditioned for the RSAMD when I was 20, was accepted and I loved it. It truly is my dream job and I couldn’t see myself doing anything else.

Any advice for aspiring performers?

Advice for actors…..I would say only do it if it really is your dream. Be prepared to take rejection and have periods without work and constantly work at your craft.  When not working spend at least an hour doing something, your voice, your physicality, sight read the newspaper. You must always be trying to improve.

Finally, why should people come along to see the play? and where else can we see it?

People should come and see McLuckie’s Line as it deals with many issues that can affect us all . You’ll laugh, you may cry. It’s just me, three chairs and some props . There is no fancy set or costumes . It’s theatre stripped back to pure storytelling. Most importantly I think you’ll have a good night out at the Theatre. There is something for everyone I’m McLuckie’s Line. Writer Martin (Traverse) and I are very proud of it.

Glen Halls in Neilston on Tuesday 25 September and Eastwood Park Theatre on Wednesday 26 September.

Tickets are £9, available from: https://www.eastwoodparktheatre.co.uk/article/9670/McLuckies-Line.

FROM THE ARCHIVES: Backstage photo tour of Glasgow’s Theatre Royal

Here is a glimpse behind the scenes of Glasgow’s oldest and Scotland’s longest-running theatre, the Theatre Royal.

Originally opening as the Royal Colosseum & Opera House in 1867, the theatre changed its name in 1869 on receiving its royal charter (and confirmation of respectability) from Queen Victoria.

Literally hewn from the stone quarry below, it has survived multiple fires, changes of ownership and a stint as the headquarters of Scottish Television and now stands resplendent on the corner of Hope Street and Cowcaddens Road, its Victorian auditorium restored to its full glory and its 2014 extension shining like a splendid jewel. Home to Scottish Opera and Scottish Ballet the grande dame of Scottish theatre is better than it has ever been in its near-150 year life.

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The new foyer and staircase designed by Page and Park and opened during the 2014 festive season.

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NEWS: GLASGOW GIRLS TO MAKE KING’S THEATRE DEBUT

Cora Bissett and David Greig’s life affirming Scottish drama, Glasgow Girls is to run at the King’s Theatre, Glasgow next year.

The production, which is based on real life events, will make its debut on the big stage from Tuesday 15 – Saturday 19 January 2019.

Filled with song-and-dance-filled this true story tells of seven feisty Glaswegian teenagers, whose lives change forever when their school friend and her asylum-seeking family are forcibly taken from their home to be deported. They are galvanised to fight for her rights, inspiring a whole community to unite behind its residents.

Glasgow Girls was an Edinburgh Festival Fringe sell out in 2016 and winner of the Amnesty International Freedom of Expression Award.

James Haworth, Theatre Director of the King’s, said: “I am especially excited to welcome this local production to the King’s Theatre in January.

“Glasgow Girls has become a cultural staple in the city and it has proved itself more than worthy of its praise and accolades to date.

“I just know our audience will love this show and I invite anyone who considers themselves a Glasgow Girl or Glasgow Boy to come along and see this spectacular production.”

Glasgow Girls is presented by Raw Material in association with Regular Music.

LISTINGS

Glasgow Girls

King’s Theatre

Tue 15 – Sat 15 Jan 2019

www.atgtickets.com/glasgow

NEWS: OPERA IN CONCERT 2018/19 OPENS WITH SCOTTISH PREMIERE OF PUCCINI’S EDGAR AT THEATRE ROYAL GLASGOW

Scottish Opera’s 2018/19 Opera in Concert series opens with the Scottish premiere of Edgar by Giacomo Puccini on Sunday 28 October, at Theatre Royal Glasgow.

A gem from the world of verismo opera, Puccini’s rarely-performed second opera was commissioned following the success of Le villi, which was performed as part of Scottish Opera’s 2016/17 Opera in Concert programme.

Italian conductor Gianluca Marcianò leads a cast that features soloists Peter Auty (Eugene Onegin 2018), Justina Gringyte (Carmen 2015), Claire Rutter (L’enfant prodigue 2016), David Stout (La bohème 2017) and Richard Wiegold (Madama Butterfly 2007). They are joined by a chorus, which includes members of Scottish Opera Young Company, and The Orchestra of Scottish Opera. This semi-staged performance is directed by Roxana Haines.

Edgar tells the story of an impulsive young knight who runs off with the seductive gypsy Tigrana. Edgar eventually tires of their indulgent life and fakes his own death, but Tigrana soon takes her revenge. Despite the dark themes of murder and vengeance, Puccini’s score is one of remarkable lyricism, lush harmonies and rich orchestral colouring, clearly heralding the later genius of both Madama Butterfly and Tosca.

Scottish Opera Music Director Stuart Stratford said: ‘I’m thrilled that we’re performing Edgar, Puccini’s second opera, following on from the success of Le villi last year. It has all the elements you’d expect from a Puccini opera – amazing melodies and beautiful harmonies. It’s not a tug of war, it’s a tug of love; the sacred love of Fidelia and the profane love of Tigrana. It’s a wonderful opportunity to share a forgotten masterpiece. Puccini famously didn’t want it to be staged in his lifetime. We’re doing it in concert, with semi-staging, which is a lovely way to experience the piece.’

The Opera in Concert series continues in April 2019 with the long-overdue Scottish premiere of Mascagni’s Silvano, a passionate seafaring story whose hard-hitting drama is reminiscent of the composer’s celebrated Cavalleria rusticana. Conducted by Stuart Stratford, Silvano tells the tale of a love triangle that ends in death and despair, and includes the Barcarolle famously featured in Scorsese’s Raging Bull. It is performed in City Halls, Glasgow and at the Usher Hall, Edinburgh with soloists including acclaimed soprano Emma Bell as Matilde, Alexey Dolgov (Iolanta 2018) as Silvano, Lester Lynch as Renzo and Leah-Marian Jones (Rusalka 2016) as Rosa.

Scottish Opera is also performing at the award-winning Lammermuir Festival in East Lothian for the first time this September, with a new semi-staged performance of Benjamin Britten’s The Burning Fiery Furnace.  Soloists, chorus and instrumentalists will perform Britten’s colourful and exotic Church Parable in Haddington’s mediaeval St Mary’s Parish Church, telling the tale of Nebuchadnezzar and the three Israelites.

 

Edgar Cast and Creative Team

 

Conductor                                                                    Gianluca Marcianò

Director                                                                        Roxana Haines

Edgar                                                                           Peter Auty

Tigrana                                                                        Justina Gringyte

Fidelia                                                                         Claire Rutter

Frank                                                                           David Stout

Gualtiero                                                                      Richard Wiegold

                              

Performance Diary

Puccini’s Edgar

28 Oct, 3pm

Theatre Royal Glasgow

REVIEW: An Officer and a Gentleman The Musical – King’s Theatre, Glasgow

Another day, yet another iconic 80s movie is adapted as a stage musical. This adaptation of An Officer and a Gentleman by Douglas Day Stewart (with Sharleen Cooper Cohen) of his own original 1982 screenplay, is a cheesy, overblown but ultimately likeable production with a plethora of hits of the decade.

For those unaware of the original source material, An Officer and a Gentleman follows the story of a group of new recruits at the United States Naval Aviation Training Facility in Pensacola, Florida, and the band of local factory women who strive to hook one of these would-be officers in an attempt to escape the drudgery of their dead-end jobs. Principal among them is the relationship between troubled Navy brat Zack (Jonny Fines) and “townie” Paula (Emma Williams). Oh, joy, another story where a man has to ‘rescue’ a woman in order to give her a better life, I hear you cry, and while hackles may rise in 2018, it just about gets away with it due to its early 80s setting and the corniness with which it’s delivered.

The action takes place on a dull but functional set by Michael Taylor. The colours, drab blues, brown and greys are evocative of the workers situation and the Naval Base but, are a trifle uninspiring to the eye. It does however change smoothly, quickly and effectively between the many locations in the story.

The whole score could be a Now That’s What I Call The 80s album and there are some stomping anthems: Livin’ on a Prayer (given the volume it deserves), Alone and I Want to Know What Love Is and a corking version of We Don’t Cry Out Loud from Williams and Rachel Stanley as her mother Esther, but, there are some baffling arrangements that are less easy on the ear: Heart of Glass and a caterwauling Kids in America to name two.

The greatest asset of the production is its actors, there are some knock-out performances from a refreshingly representative cast in age, gender and race. There are no weak links, veteran Ray Shell is highly effective as Drill Sgt Foley, and the central quartet of Williams and Fines as Paula and Zack and Ian McIntosh (who delivers an emotive performance and has a beautiful voice) as Sid and Jessica Daley as the hard-hearted Lynette are all excellent.

This is not going to challenge your intellect but, was never intended to. It is a piece of easy escapism that will entertain both fans of the film and those new to the story.

Runs until 15 September 2018 | Image: Manuel Harlan

This review was originally written for The Reviews Hub

NEWS: Still Game’s Jane McCarry appears in Nativity! The Musical at the King’s

The producers of the smash-hit NATIVITY! THE MUSICAL, are thrilled to announce that Jane McCarry will join the cast for the production’s run at the King’s Theatre in Glasgow.

Best known for her role as Isa Drennan in the hit BBC sitcom, Still Game Jane will play the Hollywood Producer from Wednesday 7 November until Sunday 11 November.

Joining Jane is Simon Lipkin who will be reprising his role as the hilarious Mr Poppy after delighting critics and audiences in the show last year.

Scott Garnham will play Mr Maddens and Ashleigh Gray will play ‘Jennifer Lore’. Joining them will be Andy Barke, Andy Brady, Jamie Chapman, Jemma Churchill, Oscar Conlon-Morrey, Gary Davis, Kade Ferraiolo, Ashleigh Graham and Helena Pipe.

The company are joined by the following children aged 9 – 12 from across the Glasgow area as the pupils of Oakmoor School after being selected from auditions in Glasgow on Saturday 1 September: Aaliyah Adamson, Ava Lilly Bacon, Eva Belton, Lilian Davies, Eva Drummond, Zac Gordon, Kaiden McGrath, Emma McConnachie, Elsa Murphy-Heeley, Poppy Ojo, Isla Reece, Kara Reid, Gregor Selkirk, Freya Scobie and Toby Walker.

Simon Lipkin played ‘Nicky’ and ‘Trekkie Monster’ in the original London cast of “Avenue Q” at the Noël Coward Theatre. His other West End credits include “Guys and Dolls” at the Phoenix Theatre, ‘Lonny’ in the original London cast of “Rock of Ages” and ‘Barlow’ in “I Can’t Sing” at the London Palladium. Simon will also star in Nativity Rocks’ the fourth film in the Nativity series which is released in November.

Jane McCarry is best known for her roles as ‘Isa Drennan’ in the sitcom ‘Still Game’ for which she won a Best Actress in the Scottish BAFTAs, other roles ‘Granny Murray’ in the children’s show ‘Me Too!’, various characters in Rab C Nesbitt and Burnistoun .

Scott Garnham’s previous theatre credits include the UK Tour of ‘Billy Elliot The Musical’ and the West End productions of ‘Les Misérables’ at the Queen’s Theatre and ‘I Can’t Sing’ at the London Palladium.

Ashleigh Gray is most known for playing the leading role, ‘Elphaba’ in “Wicked” in the West End and on UK Tour. Her other theatre credits include “Vanities” and “Cool Rider”.

Every child in every school has one Christmas wish, to star in a Nativity, and at St Bernadette’s School they’ve decided to mount a musical version! Join teacher Mr Maddens and his crazy assistant Mr Poppy as they struggle with hilarious children, and a whole lot of sparkle and shine to make everyone’s Christmas wish come true. Featuring all of your favourite sing-a-long songs from the smash-hit films including Sparkle and Shine, Nazareth and One Night One MomentNATIVITY! THE MUSICAL promises to be the perfect feel-good comedy for all the family.

Written and Directed by Debbie Isitt with music and lyrics by Nicky Ager and Debbie Isitt, NATIVITY! THE MUSICAL is choreographed by Andrew Wright, designed by David Woodhead, with lighting design by Tim Mitchell, sound design by Tom Marshall and musical supervision and orchestrations by George Dyer.

 

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