Wednesday, September 24, 2008

"Don Juan" - September 2008

Much like its central character, the Citizens Theatre Company's "Don Juan" is visually impressive, opulently dressed, full of energy and charisma - and somewhat lacking in heart and soul. But the conceit of transporting present day PR guru John D back in time to become the legendary Don Juan ("Life On Mars" style) while juxtaposing language and imagery from the two periods makes for some thrilling moments of theatre.

Mark Springer is certainly charismatic enough as John D/Don Juan - particularly when breaking the fourth wall to address the audience. But he has so little actual stage time with Neve McIntosh's Donna Anna that it's difficult to see what exactly he offers her other than an alternative to her arranged marriage, and even harder to see why she appears to captivate him so readily. There's little to justify his apparent conversion to the path of true love.

The real stars of the evening are the comic duo of countryfolk Elisa and Carino who are played to perfection by Elspeth Brodie and Ross F Sutherland - although all the cast fully contribute to the production playing counterparts in both timeframes.

But the production definitely divided the audience on the night we attended and seemed to provoke a love/hate response. Part of that may well have been down to some failing to buy into the central conceit but I suspect it was also a divide between those willing be won over by appearance and those who require more depth. Waldorf was certainly less taken with it than I was.

High production values are clearly on display here and it definitely pays off with Jason Southgate's set design aided by some fabulous lighting by Stuart Jenkins (the Citz Blog has a nice display of images from the show). This is a striking visual feast of a production that thoroughly entertains but it may very quickly leave you wanting something more fulfilling.

Don Juan runs at the Citizens until Saturday 11th October
Image by Eamonn McGoldrick used with permission


Sunday, September 21, 2008

"Amada" - September 2008

"Amada" at Cumbernauld Theatre was a late addition to our autumn plans, largely driven by me realising it was directed by Cora Bissett and featured Itxaso Moreno(Roam, Yarn). Even with this I couldn't convince Statler to come along. He couldn't get past the international aspects of this Arches Theatre Company production and the blurb on the promotional materials involving "emotional landscapes". And it's a pity he didn't, because it was one of the best productions I've seen all year.

Moreno, Alia Alzougbi (who we'd also seen in Yarn) and Richard Pyros perform marvelously in a beautifully constructed tale of the tragic events of a young girl's life,from her childhood through her marriage and eventual death. For a story that has sadness at its heart it's filled with humour and joy. You come out warmed by the tale, and its telling.

Bissett has brought together a variety of techniques, that could have overwhelmed if not done so artfully. Beautiful use of backlit silhouettes, puppetry and on-stage sound effects are woven together masterfully, with Nerea Bello and Galvarino Ceron-Carrasco providing wonderful colour and atmosphere through voice and guitar respectively.

Even an overly sensitive smoke alarm, triggered by an on stage candle, causing an unexpected interval and audience and performers a mid show trip to the car park (thankfully it was dry) couldn't spoil what was a truly memorable evening.

My only regret is we saw this so late in its run - it has one performance remaining on Tuesday 23 September at MacRobert Arts Centre in Stirling.


Saturday, September 20, 2008

The National Theatre of... where?

Bluedog commented on our post about Audience Bad Behaviour expressing his disappointment at the short run of "365" in Scotland before a much longer run in London. I'd drafted the post below back at the start of July but now that I see I'm possibly not alone in being concerned I feel more confident in raising the issue...

This post has been kind of bubbling under for a while and with our pre-Fringe gap keeping things quiet it's made its way to the surface. But first, let me be clear - I love what the National Theatre of Scotland has achieved in recent years. 'Roam', 'The Bacchae' and of course 'Black Watch' have given us truly memorable moments and I'm delighted some of these shows have been given the opportunity to showcase the NTS outside Scotland. It's just that recently, that balance between staging shows home and away seems a little uneven...

It was the announcement of next year's 'Be Near Me' that first made me raise an eyebrow. A co-production with the high profile Donmar Warehouse, adapted by and starring Iain McDairmid this should be a highlight of the coming season, but let's look at the schedule - 4 nights at The Palace Theatre, Kilmarnock followed by 7 weeks at the Donmar in London. To be fair there is the mention of a seven week "tour of the UK" following the run at the Donmar so hopefully this will include a return north of the border.

But it was enough to make me look a little closer at upcoming performances. The 2008 return of 'The Bacchae' commenced in Scotland for 7 dates split between Aberdeen and Inverness, but then transferred to New York for 12 days. Even last year's original production did 12 dates between Edinburgh and Glasgow followed by 14 at The Lyric in London. And this year's contribution to the Edinburgh International Festival - '365' - 4 nights in Inverness, 4 nights in Edinburgh and then it too is off to the Lyric for 18 days.

And this year's Edinburgh Fringe production raises a different version of what is essentially the same concern. 'Architecting' is a co-production between the National Theatre of Scotland and New York theatre company The TEAM, and of course bringing International groups to Scotland is part of what the NTS should be about. But The TEAM are not new to Scotland and have twice featured at the Fringe in previous years. Wouldn't it be better to work with a group new to the Fringe - or match an international group with a resident Scottish company rather than with the NTS itself (which makes me feel like it's just some of the usual NTS 'names' getting to choose who they fancy working with next).

I appreciate that there may be commercial factors driving these decisions but am I really being unreasonable in expecting Scottish audiences to get a decent first crack at these shows?


"Singin' I'm No a Billy He's a Tim" - September 2008

Although we saw this at Cumbernauld Theatre on Thursday night it's taken me a little time to crystalise my thoughts on NLP Theatre's production of Des Dillon's play. Taking a look at the sectarian divide in the West of Scotland is a risky venture and I'm finding it difficult to separate out the success of the play in entertaining from its success at looking at the issue.

In terms of pure entertainment it certainly doesn't disappoint; delivering sharply targeted laughs at the expense of both lead characters and their respective 'traditions'. Featuring strong performances from Colin Little as Celtic Fan Tim and Scott Kyle's Rangers supporting Billy who find themselves sharing a police cell on the day of an Old Firm game while they wait for their wives to raise the money to pay their fines. James Miller is equally strong as their jailer whose own problems remind them that some things are more important than football or bigotry.

The script does a sterling job of highlighting the absurdities on both sides in an even handed manner but its success in generating laughs left me concerned that large elements of the audience were laughing with rather than at the characters. And with the wrong kind of audience I'd be a little concerned things may turn unpleasant. There is certainly a danger involved in what is essentially poking a wasps' nest with a stick.

While the message is clear that individuals can put aside their prejudices (even just for a while) it never quite gets across how damaging it can be, and the overwhelming sense of enjoyment that the piece provides adds to the sense that it's maybe all just a bit of banter. And with a feelgood ending, the play lacks the gut-punch that could have highlighted the consequences of unrestrained bigotry.

There isn't enough here to change peoples views - particularly those whose views most need changed - but it certainly holds up a mirror to the darker side of "Scottish" culture and for that it deserves to be applauded. It should also be applauded for bringing audiences into the theatre who wouldn't normally attend - and I'm sure many of them will have been sufficiently entertained that they will return. A final nice touch was the informal post-show Q&A with the cast and director which made for an enjoyable end to a very entertaining evening.

The show completed its 2008 tour in Glasgow and Irvine. and is underaking an extensive tour throughout Scotland in April/May 2009
Image used with permission


Friday, September 19, 2008

Audience Bad Behaviour

We've commented a lot on this in the past. How poorly behaved audiences can have a real impact on everyone's enjoyment of a show. Most of the time I like to think that people are simply oblivious to the annoyance they are causing. They just aren't aware of the irritation to other audience members (or even the cast) caused by their sweetie wrapper rustling, passing comment to their neighbour or fidgeting in their seat . In cases like that front of house has a difficult job - if they act they could become part of the disruption, if they don't then the behaviour of those who are being inconsiderate won't change. How tolerant should they be? They want people to have a good time, but if it's to the detriment of others' enjoyment they should definitely be acting.

The National Theatre of Scotland's London production of "365" encountered the other side of bad behaviour this week. The deliberately disruptive.
According to The Herald a section of the audience just wasn't interested in being there. As a result the enjoyment of many others was spoiled, the play was interupted and a sour taste was left in everyones mouth. We weren't there so we don't know whether swifter action by ushers would have averted the punch up that followed. What we do know is that most theatres (especially with allocated seating) will know who bought those tickets. They should take a leaf out of football clubs by banning anyone who has behaved so poorly.


Sunday, September 14, 2008

Sitemeter Alternatives?

We've been tracking our visitors for a while via Sitemeter. It's quite amusing at times to see what people search for to get to us or who's linking to us, so much so we even paid for Sitemeter's Premium service. Unfortunately Sitemeter have decided to redesign their service and made it completely un-usable. The change only went live today and we're hoping that by making this post we'll add one more voice to the number of other bloggers out there who are really unhappy about the change.

However in anticipation of this change staying in place we're looking for recommendations for other stats services. Any suggestions?

For those who don't know what we're wittering on about our regularly scheduled programming will return later this week.


Monday, September 08, 2008

"Class Enemy" - September 2008

Just when you thought it was safe to go back in the theatre after the madness that is August with the Edinburgh International Festival and The Fringe, the EIF decides to bring the festival to you through its 'Sharing The Festival' initiative. "Class Enemy" the Nigel Williams' play adapted by Haris Pašović to a Sarajevo setting and performed in Bosnian by the East West Theatre Company ventured out to suburbia by doing one night at each of the Macrobert Arts Centre, Rutherglen Town Hall and Cumbernauld Theatre. Since I was at a loose end while Statler went off to see "An Audience With... Tommy Docherty", I thought I'd take the opportunity to catch this at Cumbernauld Theatre.

Whilst aware "Class Enemy" had received some good reviews whilst at the EIF proper, I have to admit was motivated to attend by curiousity more than anything. Firstly the technical challenge of presenting a play in a foreign language with supertitles. Secondly and possibly most importantly - how would a play that the box office warns you has "strong language, and emm some scenes of sexual violence...oh and it's in Bosnian with English subtitles" be received by an audience at Cumbernauld Theatre. There was also an element of supporting something that that I felt was important - Cumbernauld may only be 40 minutes from Edinburgh, but bringing plays out of the EIF to a wider audience is something that should be applauded. Even if I was unsure of the play itself. So I took my seat with a certain amount of trepidation.

Probably the best way to sum up "Class Enemy" is as The Breakfast Club on crack cocaine. A group of teenagers with no respect for the system or each other; and a system that has its hands too full with others to even try with them any more. Throw in some religious/ethnic prejudices from a society rebuilding itself from a disasterous civil war and you end up with a group of individuals whose problems are magnified and distorted until they're almost caricatures.

At times I was glad of the subtitles (and slightly nervous of my seat at the front) as desks and chairs are noisily tossed across the stage. The use of swearing and crude language and gestures hammered at you and left you shifting uncomfortably in your seat. Sometimes they act as a pack, whilst at others they turn on each other and you're never allowed to become comfortable as good natured 'banter' can quickly shift to bullying and violence. Relationships shift and change quickly and you realise how little they know about each other beyond the superficial.

I realise this sensory overload is part of the aim of the production, but for me it was also part of it's weakness. By taking things so far beyond where I was comfortable I started to withdraw from individuals that my liberal sensibilities said I should be be sympathetic to. But maybe that's exactly what was intended too. The strongest moments are whent he barriers come down and you get little insights into what makes them who they are.

I'm reluctant to single out individual performances as this is very much an ensemble piece, with strong acting from all. And even 5 days on I'm still not sure I enjoyed it, but it was certainly memorable.

Photo used with permission.


Sunday, September 07, 2008

"An Audience With... Dennis Taylor - September 2008

Even those who aren't compulsive viewers of snooker will remember that final between Dennis Taylor and Steve Davis, if they're over a certain age (I'm obviously just old enough). Now retired from professional snooker, and working with the BBC commentary team, Dennis Taylor was the latest visitor to the Citizens' Theatre.
Telling Irish jokes that only someone from Ireland can get away with, mixed with anecdotes and reflections from his time on the circuit and his current work with the BBC we had an entertaining evening. Although the jokes weren't always new, Dennis Taylor has an infectious way of telling a tale that has you laughing along with him regardless.

We got to see the glamerous side of snooker with its international travel, whilst being reminded about the hardwork of the journeyman player doing the holiday camp circuit. The snooker enthusiast who had come along with us was particularly interested to hear that Taylor will be working with Ronnie O'Sullivan in the coming season.

Taylor is obviously comfortable in front of an audience, and was happy to interact with what was clearly quite a knowledgeable crowd.


"An Audience with... Brian Blessed" - September 2008

What an extraordinary evening. What an extraordinary man. Bounding on to the stage with the enthusiasm of a labrador puppy, for well over three hours Brian Blessed regaled the packed audience at the Citizens' Theatre with his incredible experiences. Acting, Everest, the Yeti, Mallory, opera and his involvement with the space programme are all covered with such passion that it's utterly compelling. Add in short moments of Shakespearean dialogue, poetry and a phenomenal closing performance of "O Sole Mio", and I have to say that in terms of pure enjoyment I don't think I've ever spent a better evening in the theatre.

While many of these 'celebrity' evenings are made up of generic jokes and anecdotes, everything here is Brian Blessed. But as well as the laughs (which are genuinely laugh out loud) there is a sense of how powerful he can be as a motivational speaker. At the end of the show he implored the audience to go and see Everest for themselves you get the feeling that some of them just might.

The main thread of the evening is his fascination with Mallory's expeditions and his own mountaineering achievements, but there is plenty of time to discuss his iconic role in "Flash Gordon", his lifelong friendship with Patrick Stewart, his time in "Cats" and his love for animals. He took questions in the second half, and although these frequently resulted in some tangential tale he always addressed the question in the end.

There's simply no let up and had the Citz staff not been giving the 'wind up' signals I think he may happily have carried on for another hour. There are few evenings at the theatre that can truly be described as unforgettable but this was one of them. And should Mr Blessed find himself in need of additional work to finance his adventuring and animal feed, taking this 'show' to one of the bigger venues at the Edinburgh Fringe would show some of the comedians what a real performance is about.

And we can only hope that the Citz made sufficient impact on him that he may one day consider returning in an acting role...


Saturday, September 06, 2008

"An Audience with... Tommy Docherty" - September 2008

Former footballer and manager Tommy Docherty has been earning his living for the last couple of decades as media pundit and on the after dinner circuit - and it shows. The first 30 minutes of the evening is effectively a stand-up comedy gig filled with gags about growing-up-poor in Glasgow, and general football related stories. While they are undoubtedly effective at getting the laughs it's disappointing how few of the anecdotes relate to Docherty personally - often preferring some of football's easiest targets (Beckham, Gascoigne & Best).

After a short interval we move on to the Q&A segment of the evening, but again more often than not we get a sharp one liner in response - even to questions quite clearly looking for a more considered response. It continues to make for an entertaining evening but it lacks in depth and sincerity. The few questions that seemed to get a serious response tended to relate to his thoughts on other individuals in the game - Stein, Shankly, Clough, Ferguson, Venables, O'Neill all provoke comment.

As an after dinner turn it's a good routine, but perhaps for this format, and back in his home town, a less polished and more personal version may have been a better option. That said, there was no shortage of applause at the end of the evening.


Thursday, September 04, 2008

"An Audience with... Tony Benn" - September 2008

Audiences at the Citizens' are always generous with their applause (at times to a fault) so it wasn't entirely unexpected to see the rapturous response given to Tony Benn - including several people visibly restraining the urge to leap to their feet. Apart from one small detail - this was the response when he walked on to the stage. And nearly two hours later he left the stage to even greater acclamation and a standing ovation from the majority of the sell out theatre. Such is the esteem and affection in which he is held, and it isn't too hard to see why.

At 83 he may be a little slow on his feet and slightly deaf, but mentally he remains razor sharp. After a 30 minute run through where he shares his thoughts on what he believes to be the burning issues of our time. Following a series of anecdotes and perceptive insights into world affairs, we move on to the Q&A element of the evening. And sadly here the evening falters a little - partly due to a poor format but largely due to a Glasgow audience that should know better. As frequently seems to happen at such events, questions are turned into speeches in the style of Westminster PMQs resulting (rightly) at times with questioners being heckled to 'get to the question'. What also doesn't help is the fact that Mr Benn's hearing difficulty means questions from the further back areas of the theatre then have to be repeated (and contracted) by his on stage assistant. It results in valuable time being taken up by questions of little interest to anyone other than the questioner (including what appeared to be a request for more research into cold fusion). And a microphone or two in the audience wouldn't have gone amiss, although experience has shown that these Q&A sessions work best when the audience are asked to provide written questions pre-show or during the interval as this keeps them short and to the point and avoids opportunities for speechmaking. Alternatively some strong moderation could do wonders in maintaining the flow.

But despite the poor quality of some questions, this was an entertaining and insightful evening and gave Glasgow an opportunity to show its appreciation for one of the country's true democrats and a man of principles - whether you agree with him or not.

Tony Benn has a number of tour dates planned across the UK


Fringe highlights & where you can see them...

We managed to see thirty three shows at this year's Edinburgh Festival, and this is our chance to mention some of the shows that impressed us so that you can look out for them should they turn up near you - and rather impressively some of them are already preparing for future runs...

For me there were two real drama highlights of the month, both of which benefitted from beautifully crafted scripts and hugely impressive performances. I saw "The Patriot Act" early in its run and it was of such quality that it immediately gave me a sense of renewed hope for the rest of the Fringe after struggling through a couple of disappointments the previous day. Waldorf was equally taken by it when I persuaded her to see it for herself later in that week. And we weren't alone in being hugely impressed by Will Lyman's powerful performance as he received a nomination in The Stage awards. There are hopes of arranging runs in London and New York next Spring and information should be posted on their website.

My other dramatic highlight was the beautiful two hander "Restitution" from Pinnochio's Ashes which left us with the feeling that we'd seen something a little bit special. The performances and the writing slowly draw you in and the end has a real 'wow' factor. Fortunately those of you in London will soon be able to see it for yourselves as it runs at Theatre 503 from 9th to 13th September.

On the lighter side of things "Call for the Condemned" from Watchthis was a delightfully dark journey into Hell's Call Centre. Very slick, very funny and wonderfully offensive. Sadly we've found it difficult to locate much info on this one, but file it away in the back of your mind in case you come across it in the listings some day.

My other comic highlight was "You Don't Need To Know That" from Gonzo Moose with its high energy blend of verbal and physical comedy. They will be touring it in Spring 2009 and details will be posted on their website in November.

Deep Cut was unquestionably on of the hits of this year's Fringe. Not that I would know, Waldorf having swiped the single remaining ticket we managed to secure once it got its Fringe First and Herald Angel. But she assures me all the praise is all well deserved - including recognition in The Stage awards. You can see Deep Cut at Clwyd Theatr Cymru in Mold from 9th to 13th September and at Sherman Cymru in Cardiff from 16th to 27th September.

Another one of Waldorf's favourites was "Free Outgoing" with it's well told tale of cultural outrage and occasional touches of humour. Coming from the Royal Court Theatre, it has already had a couple of runs and we've been unable to find any future plans.

"Stolen Secrets" from Mulberry School for Girls was a little gem of a show delivered with such enthusiasm that you couldn't help but enjoy it. There aren't any plans to tour the show but writer Fin Kennedy has said they plan on returning with a new show next year.

With "My Grandfather's Great War" we got a powerful mix of personal history and global events told in a compelling manner. We haven't found any central list of tour dates but it does seem to be visiting a number of venues such as Hull Truck Theatre, Darlington Arts Centre and Memorial Hall & Theatre in Barry.

We didn't initially plan on seeing "How it Ended" by You Need Me but we were persuaded to dip our toes into the water of 'Dance & Physical Theatre' and we liked what we saw - a gracefully performed piece with a heartbreaking narrative. We've been unable to obtain any info, but I'm sure this one will have a continuing life after the Fringe.

The other late addition to our plans was "The Caravan" from Look Left Look Right and despite my pre-show concerns that staging it in a caravan screamed 'gimmick', it turned out to be a magnificent piece of intimate theatre well worthy of its Fringe First award. Again, we have no new on future dates, but they should appear on their website.

And finally, although Nonsense Room don't appear to have any future plans for their version of "Romeo & Juliet" told impressively by a cast of just three, they do hope to return to Rosslyn Chapel in December with their adaptation of "It's a Wonderful Life" which we enjoyed last year. Information will be posted on their website later in the year.


Monday, September 01, 2008

Now Booking for Autumn 2008 & beyond

With the Edinburgh Fringe now behind us we have started to make our plans for the next few months (although we've also done a Fringe Highlights post soon detailing some of our favourite shows which may be getting a run near you). In most cases we've now confirmed our plans (Google Calendar is our friend).

First up, we have the Citizens' series of "An Audience with..." evenings this coming week where we'll be seeing Tony Benn (now posted), Tommy Docherty (now posted), Dennis Taylor (now posted) and Brian Blessed(now posted), and later in the month we'll be seeing the Citizens' Theatre Company's 'radical new version' of "Don Juan" (review posted) while we're still deciding about "The Caretaker" (we've decided - the Beckett comparisons have put us off). And up in the Citz Circle Studio we hope to catch the intriguing future set "Zero" from Theatre Absolute (now posted), along with the Citz Young Company's "Reflections on the River" (now confirmed as the same performance each evening - and seen but not reviewed at TAG's request) and the Community Company's "Wicked Christmas 3" (now posted).

The National Theatre of Scotland and Catherine Wheels are touring Ray Bradbury's adaptation of his own "Something Wicked This Way Comes" around Scotland but we won't be seeing it until it reaches the Tramway at the end of its run (now posted).

The Tramway's programme has really caught our attention and we plan on seeing three other productions this season - Ankur's "Heer Ranjha" (now posted), Forced Entertainment's "Spectacular" (now posted) and Fish & Game's "Otter Pie" (now posted). We've also added in "Framed" (now posted).

Meanwhile at the Tron we'll be booking up for "Six Acts of Love" (now posted) and their double bill of Tenessee Williams featuring "Suddenly Last Summer" (Review posted) and "Like the Rain" (three short plays staged in their Changing House each night after "Suddenly Last Summer") (Review posted). We missed "The Tobacco Merchant's Lawyer" (now posted) at Oran Mor last year so it's good to see the Tron picking it up for a short run.

Of course Oran Mor has a new season of its own "A Play, A Pie & A Pint" coming up with a new play each week starting 1st September. There are too many to mention and a lot of the info is pretty vague, but with a Pie & Pint (or alternative beverage) included in the ticket prices (£10 Mon/Tues/Thurs, £7 Wed & £12.50 Fri/Sat) it's worth taking a chance. I'll be trying to get along as often as I can - preferably on a Wednesday but if it's one Waldorf is keen on seeing we'll need to wait until Saturday.

There are a number of touring shows that we'll be seeing at Cumbernauld Theatre but will also be available at venues across Scotland. These include Fin Kennedy's "Locked In" (touring throughout the UK) (review posted) and NLP's "Singing I'm No A Billy He's A Tim" ( review now posted ). We will also be catching Benchtours' "The Lesson" (review posted) but Waldorf will be on her own for "Class Enemy" (now posted) which comes as part of the 'Sharing the Festival' element of the Edinburgh International Festival, as I'm afraid I can't get past the fact it's in Bosnian with English supertitles. She's also on her own for The Arches Theatre Company's "Amada" (review posted), which has had succesful runs previously and is now touring Scotland.

And speaking of Edinburgh... The Lyceum Autumn programme didn't grab us, although I think we will try and see three of their shows next Spring ("The Man Who Had All The Luck", "Curse of the Starving Class" & "Copenhagen"). But before that, after the delightful "The Wizard of Oz" last Christmas we simply can't miss "The Lion, The Witch & The Wardrobe".

Staying in Edinburgh we also have the Traverse to consider, which is a bit of a problem as their website is pretty sparse on detail at the moment. However, we've booked up for David Greig & Gordon McIntyre's "Midsummer" (now posted). The details on the plays in the "Four Debuts" mini-season were a little scarce at the time but we've already booked "Nobody Will Every Forgive Us", and will await more details on the others before we decide on them. (We've now booked for "Cockroach" (review posted) and "Nasty Brutish & Short"/"The Dogstone")

Looking further ahead, although there isn't anything that simply demands we make the journey to Dundee Rep this Autumn, we will be booking up to see their highly acclaimed musical,"Sunshine on Leith" when it reaches The Kings in Glasgow early next year (after a return in Dundee this November) (now posted - we went in Edinburgh).

We've also been lured back to the Theatre Royal once more and will shortly be booking up for "Cabaret" (don't ask!)

Oh yes, we also have a couple of London trips coming up - the RSC's "Hamlet" with David Tenant & Patrick Stewart in December and "Madame De Sade" with Judi Dench as part of the Donmar's West End residency next May. In addition we've managed to grab some tickets for the Donmar's production of "Twelth Night" with Derek Jacobi (now posted). It won't all be highbrow though - we are also going to "Oliver!".
As always, if there's anything we've missed that you think we should see, let us know.