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积集号捕鱼上下分兑现金下载Gabrielle announces Rise Again UK tour dates, find out how to get tickets

Gabrielle announces Rise Again UK tour dates, find out how to get tickets

  • Julia Kajdi
  • 15 October 2019

Gabrielle announces huge London concert date, see how to get tickets

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English R&B and soul singer will tour the UK to celebrate the 20th anniversary of her number one album, Rise

Gabrielle (aka Louisa Gabrielle Bobb) has announced a tour of the UK in Nov 2020 to celebrate the 20th anniversary of her number one album, Rise. Tickets for the shows go on sale at 10am on Fri 18 Oct.

Highly acclaimed R&B, soul and pop singer Gabrielle released her debut single ‘Dreams’ in 1993, which topped the UK Singles Chart the same year. With world famous hits like ‘Going Nowhere’, ‘Give Me a Little More Time’, ‘Walk On By’, and ‘If You Ever’ alongside her studio albums Find Your Way, Gabrielle, Rise, Play to Win, and Always, she has frequently been in the UK music charts. Her greatest hits collection, Dreams Can Come True, Greatest Hits Vol. 1, was released in 2001.

One of her most popular songs is ‘Out of Reach’ from the soundtrack to the film Bridget Jones’s Diary which reached number four on the UK Singles Chart. Her most recent album, Under My Skin, was released in 2018.

Celebrating the 20th anniversary of her number one album, Rise, Gabrielle goes on a UK tour with a series of spectacular shows in London, Dublin, Glasgow, Birmingham, Southend, Leicester, Liverpool and other cities.

Of the tour, Gabrielle says: ‘I’m so excited about going on the road and celebrating 20 years of the ‘Rise’ album being released. I’m looking forward to performing songs from ‘Rise’ alongside lots of my other favourites and of course I could never end a show without playing ‘Dreams’, its going to be a big party full of good vibes and memories.’

Gabrielle’s Rise Again Tour 2020 dates:
Thu 12 Nov – Sage Gateshead, Sage
Fri 13 Nov – York Barbican
Sun 15 Nov – Lowry, Salford
Mon 16 Nov – Philharmonic Hall, Liverpool
Tue 17 Nov – Royal Concert Hall, Glasgow
Fri 20 Nov – Cliffs Pavilion, Southend
Sat 21 Nov – Town Hall, Birmingham
Mon 23 Nov – De Montfort Hall, Leicester
Tue 24 Nov – Brighton Dome
Wed 25 Nov – Indigo at The O2 Arena, London
Fri 27 Nov – Olympia, Dublin

Tickets for Gabrielle’s UK tour go on sale at 10am on Fri 18 Oct.

官方现金捕鱼Avril Lavigne announces 2020 UK tour dates, here’s how to get tickets

Avril Lavigne announces 2020 UK tour dates, here’s how to get tickets

  • Julia Kajdi
  • 15 October 2019

Avril Lavigne announces 2020 UK dates for her new tour, here's how to get tickets

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Canadian pop/punk star Avril Lavigne announces 2020 UK dates for her Head Above Water world tour

Eight-time Grammy Award nominee and pop/punk singer, songwriter Avril Lavigne comes to the UK in April 2020 with her brand new world tour. Tickets for the shows go on sale at 9am on Fri 18 Oct.

The Can捕鱼赢现金最稳定的平台adian artist has confirmed UK dates for her brand new tour featuring her latest studio album Head Above Water with two huge shows in London and Manchester. Lavigne started her career at the age of 15 and since her first album release in 2002 (Let Go), she has sold over 40 million albums and over 50 million singles, making her third best-selling Canadian female singer of all time.

With international hits like ‘Girlfriend’, ‘When You’re Gone’, ‘Complicated’ and many more, Lavigne mixes skate punk and pop earning her the title ‘Pop Punk Queen’. She also appears in films and does voice overs; her latest involvement with Hollywood was a role in the animation film Charming.

She is now on a world tour with her latest album that has two major UK dates; Lavigne will play in London and Manchester in April 2020. £2 from each ticket sold will be donated to The Avril Lavigne Foundation to support people suffering from Lyme disease and other serious illnesses.

Avril Lavigne Head Above Water UK tour dates:
Wed 1 Apr – O2 Academy Brixton, London
Thu 2 Apr – O2 Apollo, Manchester

Tickets for the Avril Lavigne Head Above Water world tour go on sale at 9am on Fri 18 Oct.

手机送分捕鱼兑现金Rocks review – LFF 2019: Essential exploration of the female experience from Suffragette’s Sarah Gavron

Rocks (5 stars)

  • Nikki Baughan
  • 15 October 2019

Rocks

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LFF 2019: Essential exploration of the female experience from Suffragette’s Sarah Gavron

Four years after she charted the birth of the women’s vote in Suffragette, filmmaker Sarah Gavron returns with a more intimate but no less essential exploration of the female experience. Ideas of emancipation, identity and pushing one’s own limits reverberate in this richly-textured story of a modern London teenager forced to grow up before her time.

Newcomer Bukky Bakray displays astonishing natural talent as 15-year-old Nigerian-British protagonist Shola – aka Rocks – who lives with her mother Funke (Layo-Christina Akinlude) and younger brother Emmanuel (a scene-stealing D’angelou Osei Kissiedu) in East London. When Funke disappears, leaving only an envelope of not-enough money and an apologetic note, Rocks attempts to look after herself and Emmanuel. While she initially coasts by on self-confidence and the support of close friends, she soon finds herself in over her head and running out of options.

While Rocks and Emmanuel’s journey, literal and thematic, is the engine of this narrative, the depiction of female relationships is at its heart. That Gavron and her team spent much time with their young cast, with whom they built the story from the ground up, means that this portrayal of teen friendships is frequently funny, deeply moving and always bracingly authentic. There are glorious echoes of Céline Sciamma’s Paris-set Girlhood throughout: in the boisterous shouts that introduce us to the girls before we see them; in dance scenes where they let loose with abandon; in moments that vibrate with hope and potential, and those in which reality cuts coldly to the bone.

As with Sciamma’s film, location is key. The London skyline looms on the horizon, always there but out of reach, the girls often hemmed in by tiny bedrooms and classrooms. Crucially, however, Rocks is not defined or limited by her tower block home – she has far-reaching ambitions that she is determined to pursue. Her friends, too, come from a variety of cultural backgrounds, each with their own dreams, but they are unquestioningly accepting of each other.

Indeed, the key message here is that, even as traditional support networks of family, school and external org街机捕鱼领现金anisations are being slowly eroded, girls such as these have always been busy building each other up. ‘Real queens fix each other’s crowns,’ shouts a bedroom wall sticker early in the film; it’s a neat encapsulation of the sense of solidarity which makes Rocks such a joy.

Screened on Fri 11 Oct and Sat 12 Oct as part of the BFI London Film Festival 2019. General release from Fri 24 Apr.

注册送现金可提现的捕鱼网站Patrick Watson – Wave – Melancholic and gorgeous sixth album from the experimental Canadian singer-songwriter

Patrick Watson – Wave (4 stars)

  • Megan Forsyth
  • 14 October 2019

Patrick Watson – Wave

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Melancholic and gorgeous sixth album from the experimental Canadian singer-songwriter

‘Don’t you wish that we were just dreaming?’, Patrick Watson asks on ‘Dream for Dreaming’, the first track from his sixth album, Wave. The thing is though – Watson’s music always feels like a dream. The experimental singer-songwriter and composer from Montréal has an innate ability to create beautifully layered and textured soundscapes that seem out of this world.

Watson is probably best known as the vocalist on The Cinematic Orchestra’s 2007 song ‘To Build a Home’, which has been used in just about every television show, film, or advert you can think of. But Watson was making music on his own long before, and he and his band won the Canadian Polaris Music Prize (also in 2007) for the album Close to Paradise, beating the likes of Arcade Fire and Feist, among others.

Wave is Watson’s first album in four years and it packs a serious emotional punch. During the making of the album, Watson’s mother passed away, his longtime drummer left the group, and he and his partner separated. Water is a recurring theme throughout, with song titles like ‘The Wave,’ ‘Strange Rain,’ and ‘Here Comes the River’. Watson says that the album ‘is about having a wave knock you over when you realise everything you have in life can be wiped away in a moment – and then learning how not to drown in the process.’

The songs are poetic, with Watson’s trademark falsetto often complemented by piano and strings. The album’s true standout, ‘Broken’, deals with letting go of the past and has to be one of the most dev下载捕鱼赢现金astatingly sad songs recorded in recent memory. ‘Do you feel a little broken?’ he asks, as his vocals are beautifully overlayed before building to a goosebump-inducing crescendo.

The slow and sultry ‘Turn Out the Lights’ follows, and then the album suddenly loses some steam with some sleepier numbers (‘Look at You’, ‘Drive’), but any shortcomings are remedied by the gorgeous album closer, ‘Here Comes the River’. Wave is a deeply personal and introspective record from a fine songwriter who is just trying not to drown.

Out Fri 18 Oct on Domino and Secret City.

赢现金捕鱼500提现The Panopticon – A rough and tumble journey into the othered

The Panopticon (3 stars)

  • Gareth K Vile
  • 14 October 2019

The Panopticon

credit: Mihaela Bodlovic

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A rough and tumble journey into the othered

In commissioning the adaptation of Jenni Fagan’s novel, the National Theatre of Scotland demonstrated a commitment to bringing marginalised stories to the stage: following the experiences of a young woman in the Scottish care system, the script highlights the mistreatment of women in the youth care system, the prejudice of the police and panels that judge them and the harsh lives of those condemned as an underclass. And the dynamism of the production, directed by Debbie Hannan, captures the disorientating and disheartening whirl of protagonist Anais Hendricks’ experience, played with ferocious intensity by Anna Russell-Martin. It’s a restless, probing production that upends lazy assumptions about the care system, with an astonishing and powerful use of projections and video from Lewis den Hertog and a rough dramaturgy that embodies the tensions of lives lived in the shadow of the economic and social mainstream.

Against this, the production is undermined by some uneven performances from the ensemble cast and the emphasis on Anais Hendricks leaves the supporting characters underdeveloped – their tragedies and deaths are underplayed – and the transition from novel to script leaves behind scenes that add little to the narrative. A vicious depiction of sexual assault is appropriately disturbing, but appears to lack any consequence for the character, becoming just another incident, and the superb scenography, lighting and projection is balanced against a scene that uses chairs to represent a car – a simplistic and unconvincing strategy that is too familiar from school plays.

The Panopticon promises to evolve into 赠送现金捕鱼游戏magic realism – again, den Hertog’s visuals add a lush and disruptive chiaroscuro – but is caught between a gritty naturalism and a poetic longing for escape. The clash between the rich inner world of Hendricks’ ambitions and belief, and the shocking reality of uncaring care is suggested, but never quite resolves into a moving or dynamic tension. The production is a strong statement of intent, a passion and striking engagement with its raw, uncompromising material, yet its intelligent reflections on the conditions of the protagonist rarely coalesce into emotive drama.

Traverse, Edinburgh, until Sat 19 Oct.

真钱捕鱼软件哪个好The Alchemist – A glittering and goofy farcical offering from Gary McNair

The Alchemist (4 stars)

  • Flora Gosling
  • 14 October 2019

The Alchemist

credit: John Johnston

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A glittering and goofy farcical offering from Gary McNair

A Jacobean farce in rhyming Glaswegian patter: Ben Jonson’s seventeenth-century comedy has received a thoroughly Scottish rewrite by Gary McNair. As with any newly-adapted classic (albeit one that hasn’t received much attention in recent years), the question is whether the new script is able to preserve the essence of the original while giving it a fresh lick of paint, or whether the cracks will still show through.

The plot sees a pair of bickering tricksters (Louise McCarthy and Grant O’Rourke) swindling the gullible and the rich by promising to create for them a philosophers stone and grant their wishes through ‘the faerie queen’ (McCarthy in what looks like a wedding dress festooned with fairy lights and Christmas baubles). Lies pile upon lies, disguises upon disguises, and the 6-person cast perform a whole host of zany and buffoonish characters.

McCarthy and O’Rourke bounce off each other perfectly; O’Rourke as a boastful egotist is frequently brought back to earth by McCarthy as a scathing and sche现金捕鱼苹果版下载ming side-kick. The cast deliver solid performances, though Neshla Caplan (who plays an anxious coffee shop owner in search of guidance) may be said to come off as slightly robotic compared. Highlights among the jam-packed character list are Robert Jack’s sultry and drawling Dame Pliant and Stephen Clyde’s impeccable Matt Berry impersonation as Lord Lovewit.

In spite of the (intentionally) convoluted plot, the animated performances and Andy Arnold’s slick direction make it easy to follow. At times it gets carried away with its own eccentricities (occasionally a character will sing ‘Sweet Adeline’ and the portraits will sling open to reveal a face singing along, a wacky touch that slightly over-eggs the pudding). Even so, Arnold’s playful vision inserts just enough sincerity for the audience to become invested in the crooked protagonists.

McNair’s script is the star of the show; the sharp rhymes and affectionately colloquial lingo flow naturally through the dialogue. The plot has aged marvellously and is a refreshing reminder that farce comedy needn’t be cheap or overacted to be funny. It can be classy and still occasionally crass. The design can be sumptuous and still have costumes that look like they were put together from a collection of car-boot sale left-overs. The joys and quirks are too numerous to list; such is the daft delight that is The Alchemist.

Tron Theatre, Glasgow, until Sat 19 Oct.

现金捕鱼红包Hamilton extends London West End run into March 2020, find out how to get tickets

Hamilton extends London West End run into March 2020, find out how to get tickets

  • The List
  • 14 October 2019

Hamilton extends London West End run into March 2020, find out how to get tickets

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Thousands of tickets will be released for the new dates

West End phenomenon Hamilton has extended its run, confirming new dates from 2 – 28 Mar 2020 at London’s Victoria Palace Theatre. Tickets for the new performances start from £20 and go on sale at noon today.

Thousands of more tickets will be released for the multi-award winning and critically acclaimed musical which reopened the renovated Victoria Palace Theatre in late 2017.

Ha99捕鱼赢现金手机版下载milton tells the story of America’s Founding Father Alexander Hamilton, an immigrant from the West Indies who became George Washington’s right-hand man during the Revolutionary War. Hip-hop, jazz, blues, rap, R&B and Broadway are blended together in the score to tell the story of American history in a modern way. The musical is directed by Thomas Kail with music and lyrics by Lin-Manuel Miranda.

Hamilton first took to the stage at off-Broadway venue The Public Theater in New York City in 2015, shortly after opening on Broadway at the Richard Rodgers Theatre. The popular production continues to run at the New York City venue today.

The West End production opened at the very end of 2017 at London’s Victoria Palace Theatre starring Jamael Westman as Hamilton. Westman continues to portray the founding father in the musical.

Hamilton has earned a number of distinctions, from Tony Awards to Olivier Awards. The many accolades include Best Musical at the Tonys, Best Musical Theatre Album at the Grammys, and Best New Musical at the Oliviers.

Tickets for the new Hamilton dates will be available from noon today.

三色龟鱼现金兑换捕鱼游戏The Irishman review – LFF 2019: Robert De Niro and Al Pacino head up Martin Scorsese’s triumphant return to the gangster film

The Irishman (4 stars)

  • Katherine McLaughlin
  • 14 October 2019

The Irishman

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LFF 2019: Robert De Niro and Al Pacino head up Martin Scorsese’s triumphant return to the gangster film

‘I Heard You Paint Houses’ is the only title that appears on Martin Scorsese’s elegiac epic, which recounts the true story of mob enforcer and union official Frank Sheeran (Robert De Niro). That euphemism for contract killing is the first thing notorious Teamsters president Jimmy Hoffa (Al Pacino) ever said to Frank, and it’s dramatically revealed in white type on a black screen, piece by piece, for full impact. The screenplay, written by Steven Zaillian (an Oscar-winner for Schindler’s List, who worked with Scorsese on Gangs of New York), is adapted from Charles Brandt’s novel. It’s based on interviews he conducted with the titular Irishman towards the end of his life, and has a similarly gripping effect as it steadily builds to its shattering conclusion.

The Irishman possesses the wise-guy humour of Goodfellas but is also packed full of remorse and the sombre realisations of a man whose life led to a huge betrayal. A large chunk of American history – where the government, unions and mafia waged war, seen through the eyes of Frank and his Mafia string-puller buddy Russell Bufalino (Joe Pesci) – is richly realised, with the long running time skipping by.

A chunk of the estimated $159 million budget has been spent on the de-aging technology used to take the trio of actors at the story’s core through the decades. It’s a bit conspicuous to start with, but easy to forgive due to the mastery on display from the filmmakers (which include regular Scorsese editor Thelma Schoonmaker and cinematographer Rodrigo Prieto who shot Silence and The Wolf of Wall Street) and, as expected, all the glorious performances.

Pacino dials 网上电玩现金捕鱼it up as the ice-cream-loving union man, giving impassioned speeches at lecterns, and bellowing chants of ‘solidarity.’ His disgust at the Kennedy clan is displayed through the wringing of hands and seething behind-the-curtain rants. It’s a satisfyingly showy turn that complements the quietude of Pesci’s more sophisticated work. De Niro is understated, too, as their gun for hire and is gifted some of the most powerfully poignant moments of the film – whether he’s excruciatingly trying to express emotion, or glassy-eyed and numb. Ray Romano’s dodgy lawyer and Stephen Graham’s aggressive ‘little guy’ are meaty roles that the actors make memorable. And Harvey Keitel and Bobby Cannavale add value to this legendary gathering too, as sharp-suited mob men.

The close friendships between Frank, Jimmy and Russell are appealingly handled; at times they are like affectionate couples, as they break bread in romantic restaurants or snuggle up in twin beds chattering. These are the relationships Sheeran chose to nurture, and the devastating impact of his chosen profession on his family sends waves through the film via the suspicion and contempt of his daughter Peggy (played by Anna Paquin as an adult, Lucy Gallina as a child). It’s an intriguing, if not thoroughly inspected relationship that gives Paquin very little to say.

As Scorsese reunites De Niro and Pesci in a genre that they are renowned for he slows down time and even stops it to reflect on alliances, violence and mortality. It’s masterful filmmaking that sadly doesn’t make room for a complicated female character like Casino’s Ginger McKenna or Goodfella‘s Karen Hill. Still, it distils the crucial elements of the book and interrogates the gangster flick with a wistful eye.

Screened on Sun 13 Oct as part of the BFI London Film Festival 2019. Selected release from Fri 8 Nov and on Netflix from Wed 27 Nov.

捕鱼游戏送现金可提Grin – V/DA’s performance of sound, visuals and choreography is a bold and sensual challenging of perceptions of African and Caribbean dance

Grin (4 stars)

  • Claire Sawers
  • 14 October 2019

Grin

credit: Tiu Makkonen

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V/DA’s performance of sound, visuals and choreography is a bold and sensual challenging of perceptions of African and Caribbean dance

Eyeballs strain in the mostly white audience, as they work hard to make out shapes in the inky blackness. The stage is pitch dark, except for a few glinting angles in the back corner. These shiny, crystalline edges ripple vaguely; a tense, deliberately frustrating but intriguing slow burn of a start to director / choreographer Mele Broomes’ excellent sound and dance piece Grin, first performed as a work in progress at Glasgow’s experimental performance night Buzzcut Double Thrills and Montreal’s avant-garde arts festival, OFFTA/La Serre.

Grin‘s title comes from Maya Angelou’s 1987 spoken word poem which starts with the line, ‘We wear the mask that grins and lies / It shades our cheeks and hides our eyes’. Grin keep its mask on tight for the opening section, only letting us catch flashes of brightness as two glittery silver costumes catch a chink of light for a second then slide back into the shadows. It’s a teasing intro – setting boundaries, making the room wait, refusing to be forced, before a pink light glows on the stage and shapes become more obvious. Artists Divine Tasinda and Levent Nyembo shuffle in round shimmering suits, making wonky angles like disco Pingus before giving way to a much more sensual sequence.

Congolese Glaswegian Tasinda is backlit and silhouetted by Dav Bernard’s strong, simple lighting design as she strobes her body expertly in pulsing jerks, before lying on the ground and tensing her fishnet-wrapped glutes in time with Patricia Panther’s dark, bassy soundtrack. Elsewhere euphoric drumming and dancehall rhythms shake positive vibes into the room as the dancers get more and more loose and joyful, defiantly refusing ‘to be rendered abject’.

Reviewed at Tramway, Glasgow, part of Dance International Glasgow.

捕鱼单机可提现金的appFoals confirm 2020 UK headline tour dates, find out how to get tickets

Foals confirm 2020 UK headline tour dates, find out how to get tickets

  • Megan Forsyth
  • 14 October 2019

Foals confirm 2020 UK headline tour dates, find out how to get tickets

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The experimental rock band will tour the UK in spring 2020 and play a summer show at Cardiff Castle

Foals have announced details of a forthcoming UK tour. Tickets for the shows will be available from 9.30am on Fri 25 Oct.

The tour kicks off at Edinburgh’s Usher Hall on Wed 29 Apr and will also see the band headline gigs in London, Blackpool and Birmingham throughout the spring, as well Cardiff Castle in July.

The announcement comes ahead of the release of the second part of their dual album project Everything Not Saved Will Be Lost – Part 2, due to drop later this week.

The new record follows Everything Not Saved Will Be Lost – Part 1, which was released earlier this year to positive reviews and debuted at No.2 on the Official UK Albums Chart.

About the dual release, frontman Yannis Philippakis explained: ‘They’re two halves of the same locket. They can be listened to and appreciated individually, but fundamentally, they are companion pieces’.

Songs ‘The Runner’, ‘Black Bull’ and ‘Into The Surf’ have been shared in advance of Everything Not Saved Will Be Lost – Part 2‘s release.

Foals formed in Oxford, England in 2005 and have released five studio albums to date: Antidotes (2008), Total Life Forever (2010), Holy Fi注册送分的现金捕鱼re (2013), What Went Down (2015), and Everything Not Saved Will Be Lost – Part 1 (2019).

Foals 2020 UK tour dates:
Wed 29 Apr – Usher Hall, Edinburgh
Sat 2 May – Olympia, London
Wed 6 May – Empress Ballroom, Blackpool
Sat 9 May – Arena Birmingham
Fri 10 July – Cardiff Castle

Tickets for the shows will be available from 9.30am on Fri 25 Oct.

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