title: 2008 South Carolina Learjet 60 crash

text: Both pilots were killed, as well as passengers Charles Monroe Still, Jr. and Chris Baker. The pilot and co-pilot died from smoke inhalation and burns minutes after the crash. Passengers Still, Jr. and Baker died upon impact.


title: 2008 South Carolina Learjet 60 crash

text: Barker and Goldstein escaped the plane and told first responders four others were on board. Both had second and third degree burns and received skin grafts. Goldstein was asleep at the time of the crash and woke up to Barker screaming. Barker opened the door to the plane and slid down the plane's wing. Goldstein jumped out after him. Goldstein was on fire, but was able to put out the flames by rolling on the ground.


title: 2008 South Carolina Learjet 60 crash

text: Barker stated that he was covered in jet fuel, and started running and ripping off his clothes. Eventually, he heard someone tell him to stop, drop and roll, which put out most of the fire on his body. Barker had burns on sixty-five percent of his body and was in the hospital for eleven weeks following the accident. He has post-traumatic stress disorder, and did not fly on a plane again until August 2021.


title: 2008 South Carolina Learjet 60 crash

text: On the cockpit voice recorder (CVR) the pilot indicates she is reacting to the apparent sound of a tire burst and attempting a rejected takeoff. Pieces of a tire were found at the crash site. The plane did not carry a flight data recorder (FDR).


title: 2008 South Carolina Learjet 60 crash

text: The National Transportation Safety Board's (NTSB) report attributed the accident to tire bursts during take-off and the captain's resulting decision to abort at high speed. Several tires were severely under-inflated and punctured during take-off. Pieces of the tires damaged the plane's hydraulic system, causing the plane's brakes to fail. The captain aborted at . The normal operating procedure for Learjet 60s is never to abort above the "go/no-go" decision speed V, which for this particular take-off was .


title: 2008 South Carolina Learjet 60 crash

text: The captain therefore aborted the takeoff after V, violating these operating procedures. The first officer can be heard saying the appropriate "go go go" on the CVR. A contributing factor was the engines giving full power, even though the pilots were applying reverse thrust. The reason for this was the aircraft's air/ground sensor was damaged by debris and caused the sensor to go to "air" mode. Investigators also found that the captain had limited experience in the Learjet 60 and that the company's tire pressure inspections were inadequate.


title: 2008 South Carolina Learjet 60 crash

text: Global Exec Aviation estimated that the tire pressure had been checked three weeks before the crash, but investigators stated that the type of tires on the Learjet 60 at the time lose approximately two percent of their pressure per day and would need to be replaced after eight days if they were not properly maintained. Additionally, investigators noted a design flaw in the thrust reverser system which the NTSB believed may have contributed, increasing the severity of the crash.


title: 2008 South Carolina Learjet 60 crash

text: Both survivors, as well as the estates of two of the deceased, sued for damages from parties including Learjet, tire manufacturer Goodyear, and, in at least Goldstein's case, against the estates of the dead pilots. Barker's case was settled out of court in December 2009 and the terms of the settlement are confidential. The estates of Still, Jr. and Baker also reached settlements. Global Exec Aviation and ITAS, Inc. also filed a lawsuit against Learjet and Bombardier, the manufacturers of the plane. The owner of the plane also sued the Columbia Metropolitan airport.


title: Mindtree

text: Mindtree Ltd was an Indian multinational information technology services and consulting company, headquartered in Bangalore. It is a part of the Larsen & Toubro Group. Since its foundation in 1999, the company has employed over 38,518 employees.


title: Mindtree

text: The company deals in e-commerce, mobile applications, cloud computing, digital transformation, data analytics, Testing, enterprise application integration and enterprise resource planning, with more than 307 active clients and 43 offices in over 18 countries, as of 31 March 2019.


title: Mindtree

text: In August 1999, Mindtree Consulting Private Limited was founded by ten IT professionals, three of which invested through an entity incorporated in Mauritius. It was funded by the venture capital firms Walden International and Sivan Securities, and received further funding in 2001 from the Capital Group and Franklin Templeton.


title: Mindtree

text: It became a public company on 12 December 2006 and was listed on the Bombay Stock Exchange and National Stock Exchange. Its IPO debuted on 9 February 2007 and closed on 14 February 2007. The IPO was oversubscribed by more than a hundred times. Mindtree announced a new brand identity and logo, with the slogan "Welcome to possible" on 28 September 2012.


title: Mindtree

text: In 2012, Mindtree setup its first U.S. delivery center (USDC) in Gainesville, Florida, under the leadership of Scott Staples, co-founder and Global Head of Sales. As of 2017, the company has 43 offices in over 17 countries.


title: Mindtree

text: Larsen & Toubro (L&T), an infrastructure major and one of the largest conglomerates in India, took over control of Mindtree in June 2019 and currently has a 61.08% stake in the company. L&T's take over of Mindtree was described at the time as the first hostile takeover in the Indian IT industry.


title: Mindtree

text: In March 2020, Mindtree announced the appointment of Dayapatra Nevatia as COO with immediate effect. He joins the company from Accenture where he was the managing director as well as the director for delivery for advanced technology centers in India.


title: Mindtree

text: In April 2022, speculation arose that Mindtree and Larsen & Toubro Infotech will be merged. The combined entity was named LTIMindtree after official merger in November 2022. In December 2022, LTIMindtree had a Market cap of Rs.1,29,369.32 crore.


title: Mindtree

text: Mindtree works in Application Development and Maintenance, Data Analytics, Digital Services, Enterprise Application Integration and Business Process Management, Engineering R&D, Enterprise Application Services, Testing, and Infrastructure Management Services.


title: Mindtree

text: The company offers various research and development services including Bluetooth Solutions, Digital Video Surveillance, an integrated test methodology called MindTest, an IT infrastructure management and service platform called MWatch, the application management service, Atlas, SAP Insurance and OmniChannel.


title: Mindtree

text: Mindtree's business is structured around clients in verticals such as Banking, Capital Markets, Consumer Devices & Electronics, Consumer Packed Goods, Independent Software Vendors, Manufacturing, Insurance, Media & Entertainment, Retail, Semiconductors and the Travel and Hospitality industry.


title: Mindtree

text: Mindtree's workforce includes thousands of employees who serve as Microsoft Azure outsourced support agents.


title: Mindtree

text: Mindtree has a total of 23,814 employees as of March 2021, of which 32% were women. Its workforce consists of employees from over 80 nationalities working from various offices around the globe. Out of its total workforce, 95% are software professionals and remaining 5% work in support and sales.


title: Mindtree

text: Mindtree Foundation is a unit of Mindtree that works towards improving the lives of people with disabilities and the enhancement in the quality of primary education. Mindtree Foundation was incorporated on 20 November 2007 under section 25 of Companies Act. Mindtree's employees, assistive technologies and associations with NGOs led to the following:


title: Lawless Lawyer

text: Lawless Lawyer () is a 2018 South Korean television series ran starring Lee Joon-gi, Seo Yea-ji, Lee Hye-young, and Choi Min-soo. The series was written by Yoon Hyun-ho and directed by Kim Jin-min. The series is set in the fictional city of Kisung which is described as lawless and corrupt.


title: Lawless Lawyer

text: The series follows characters Bong Sang-pil and Ha Jae-yi who form the Lawless Law Firm. Sang-pil, a former gangster turned lawyer, seeks to avenge his mother and fight against those with absolute power. He often resorts to using his fists and loopholes in the law to achieve his goals. Ha Jae-yi is a lawyer of high integrity who works with Sang-pil after she is suspended for assaulting a judge. Together they use the law to fight for justice against corrupt judge Cha Moon-sook and her associates.


title: Lawless Lawyer

text: Lawless Lawyer premiered on tvN on May 12, 2018. It concluded on July 1, 2018 with the airing of the 16th episode. The series was a commercial hit and became one of the highest-rated Korean dramas in cable television history.


title: Lawless Lawyer

text: 18 years prior to the events of the series, Cha Moon-sook murders a man critical of her late father. She then orders gangster Ahn Oh-joo to cover it up. Lawyer Cho Jin-ae discovers the truth of the event due to pictures taken by Noh Hyung-joo. Oh-joo murders Jin-ae but her young son Sang-pil escapes with the help of Hyung-joo. Sang-pil flees to his uncle Choi Dae-woong, who is a gangster in Seoul. Hyung-joo is forced to leave her husband and young daughter Ha Jae-yi behind to flee the country. Moon-sook becomes a prominent judge and is seen as a pillar of the community. Oh-joo becomes the boss of large corporation and gains wealth. Sang-pil and Jae-yi both become lawyers in the city of Seoul.


title: Lawless Lawyer

text: An adult Sang-pil leaves his lucrative practice in Seoul and returns to Kisung to bring those responsible for his mother's death to justice. He takes over a loan shark business and converts it into the Lawless Law Firm. Jae-yi is suspended from practicing law after assaulting a judge, loses her job, and also returns home to Kisung. She soon ends up working for Sang-pil, and later becomes his partner when reinstated as a lawyer. After learning the truth about Moon-sook, she joins Sang-pil in his pursuit of justice for the wrong done to their mothers. Together, they use the law to fight against Moon-sook and her associates. Over time, they fall in love.


title: Lawless Lawyer

text: Moon-sook and Oh-joo grow in influence and power through corrupt methods; Oh-joo becomes the mayor of Kisung and Moon-sook is nominated for chief justice in the Supreme Court. They and their associates oppose the Lawless Law Firm both inside and outside the courtroom by using underhanded tactics, including murdering Dae-woong and framing Sang-pil for it, bribing or threatening witnesses and assaulting Jae-yi. Despite the obstacles in their way, Sang-pil and Jae-yi succeed in revealing Moon-sook's crimes in court and successfully plead their case against her. Moon-sook and her associates end up in prison, whereas Oh-joo commits suicide. Jae-yi and Sang-pil then return to Seoul to help Prosecutor Cheon Seung-beom fight against corrupt officials.


title: Lawless Lawyer

text: In early 2018, Namoo Actors revealed that Lee Joon-gi was in talks to play a lawyer in an upcoming drama. However, details of the drama and its release date remained unknown. Then in February, Lee Joon-gi confirmed that he had been cast as the male lead. It would be his first production with director Kim Jin-min since Time Between Dog and Wolf in 2007. Soon after, Seo Yea-ji was confirmed as the female lead opposite Lee Joon-gi.


title: Lawless Lawyer

text: The first script reading took place on February 28, 2018 at Studio Dragon in Sangam-dong, Seoul, South Korea. The results of the script reading reportedly helped Studio Dragon to build confidence in the drama.


title: Hotarubi no Mori e

text: A 44-minute anime film with the same title was produced in 2011 at the anime studio Brain's Base and directed by Takahiro Omori. The film starred Japanese voice actors Ayane Sakura and Kōki Uchiyama, and its soundtrack included music by Makoto Yoshimori. The film maintained a strong following for months in Japan after its opening on . The European premiere of "Hotarubi no Mori e" was on at the Scotland Loves Animation festival, where it won the Jury Prize. It was screened at the Leeds International Film Festival, Anime Contents Expo and Anime Expo convention, and also won the Animation Film Award at the 66th Annual Mainichi Film Awards.


title: Hotarubi no Mori e

text: The anime was released on Blu-ray Disc (BD) and DVD in Japan on . An additional story related to the original manga and anime film, titled , was released in a keepsake edition of the manga 12 days prior to the release of the anime. Both the keepsake edition manga and the limited edition BD ranked No. 13 on Japan's Oricon sales chart shortly after their release. Sakura reported experiencing a strong emotional reaction to the story while recording the voice of Hotaru, and Midorikawa acknowledged that the story had a positive impact on her career. Reviewers universally praised the anime film for its beauty, simplicity, and tenderness, likening it to the works of Hayao Miyazaki of Studio Ghibli and Makoto Shinkai. There were few criticisms, most commonly focusing on its short length.


title: Hotarubi no Mori e

text: The original "Hotarubi no Mori e" "shōjo" manga and subsequent film tell the story of a six-year-old girl named Hotaru Takegawa, who gets lost in a forest inhabited by a mountain spirit, as well as "yōkai" (strange apparitions from Japanese folklore). She is found by a mask-wearing, human-like entity named Gin, who informs Hotaru that he will disappear forever if he is touched by a human. Gin then leads Hotaru out of the forest. Hotaru returns to visit Gin in the forest over the next few days and they become friends despite the limitations on their interactions. Although at summer's end she must leave Gin to return to the city and her studies, Hotaru promises to return to visit him every summer holiday.


title: Hotarubi no Mori e

text: As the years go by, Gin hardly ages while Hotaru physically matures and grows closer to his apparent age. Upon reaching adolescence, Hotaru begins to struggle with their budding romance and their uncertain future together, while Gin wishes he could touch and hold the young woman that Hotaru has become. When Hotaru reaches high school, Gin takes her on a date to a festival in the forest hosted by the spirits. The night ends in tragedy when Gin mistakenly touches a young boy who snuck into the spirit festival, though before he disappears, he and Hotaru embrace and confess their love for one another. The story ends with Hotaru accepting her pain and moving on with her life, though she will always treasure the memories of her time with Gin. The 2011 anime film adaptation of the story follows all of the events from the manga, adding only a few additional scenes.


title: Hotarubi no Mori e

text: , published in 2011, expands on the original story with a short episode told from Gin's perspective. When Hotaru is a teenager, she shares some pudding with Gin before she leaves at the end of the summer. After Hotaru leaves, the "yōkai" attempt to cheer Gin up by bringing him a couple of persimmons, one of the most prized treats on the mountain. Impressed with the taste, Gin thinks of sharing one of these persimmons with Hotaru next year. After discussing ways to preserve the persimmon with the "yōkai" and a spirit named Matsumino, Gin sets off to find ice on the highest mountain peak, but is disappointed to find none during the summer. When Gin returns scratched up from his fruitless search for ice, Matsumino feels sorry for him and offers to deliver the persimmon to Hotaru for him. However, not knowing where she lives, Matsumino gets lost and grows hungry. After he returns from his unsuccessful attempt to find Hotaru, Matsumino apologizes to Gin for eating the persimmon and Gin forgives him. The story concludes with Gin seeing Hotaru the following summer and wondering if he will be able to tell her about his feelings for her.


title: Hotarubi no Mori e

text: The author, Yuki Midorikawa, explained in the postscript of the "Aizoban Hotarubi no Mori e" reprint that the idea for the story came to her more easily than for any other work up until that point. Although she had been planning to write a story as challenging as "Hotarubi no Mori e" once she had gained more experience writing manga, she decided to undertake the project sooner when the idea for the story suddenly came to her. Afraid that she might lose the idea, she promptly began to draw it, and Midorikawa's writing progressed smoothly despite having numerous conflicting ideas for the development of the story.


title: Hotarubi no Mori e

text: The story came from Midorikawa's desire to draw several scenes. She was interested in drawing a scene where a boy dodges a girl who is falling towards him. She also wanted to draw a shadowy summertime forest, which would allow her to expand the range of tones and blacks used in the manga. A third inspiration was the desire to depict a more tranquil summer festival than those she had drawn before. She was also eager to create the mask worn by Gin at the festival, which resembled the face of a fox whose typical slitted eyes were replaced by oval ones to give the mask a "creepy" hybrid fox-primate appearance.


title: Hotarubi no Mori e

text: The supernatural love story between Hotaru and Gin is considered a starting point for Midorikawa's best known work, "Natsume's Book of Friends", which also depicts ill-fated interactions between humans and "yōkai" (sometimes referred to as "ayakashi"). In both stories, differences in lifespan and other insurmountable barriers mar their relationships and attempts to understand each other.


title: Hotarubi no Mori e

text: Prior to the anime film's theatrical release in 2011, Midorikawa published an additional chapter to the story, "Hotarubi no Mori e Tokubetsuhen". Since the original story was already complete and she initially felt uncomfortable about adding to it, she opted instead to expand on the story from Gin's perspective.


title: Hotarubi no Mori e

text: According to animation director Yumi Satou, the anime project originated with his personal wish to animate the original manga, which he enjoyed. The project was given approval in early 2011, and according to the film's producer, Shuko Yokoyama, the anime was originally planned as an original video animation, which would not have been released in theaters. However, the popularity of "Natsume's Book of Friends", which was also written by Midorikawa and developed by the same production staff, gave them the support they needed to create an anime film. The film was produced by the studio Brain's Base and directed by Takahiro Omori, starring Japanese voice actors Ayane Sakura as Hotaru and Kōki Uchiyama as Gin. Satou had frequently worked together with Yokoyama on previous projects. Other staff included Akira Takata (character design), Yukihiro Shibuya (art), Hiromi Miyawaki (color design), Hitoshi Tamura (photography), and Kazuhiko Seki (editor). The anime film had a very small staff because it was a very short film and was produced domestically, unlike the TV series, "Natsume's Book of Friends", which was primarily outsourced to other countries—a common trend in anime production.


title: Hotarubi no Mori e

text: In March 2011, midway through production, the 2011 Tōhoku earthquake and tsunami struck Japan. Despite the national tragedy, the production crew continued its work, and according to Omori, the team hoped that their work would help soothe the nation after it had time to recover. Omori speculated that this was part of the reason for the strong positive reception and the awards the anime later received.


title: Hotarubi no Mori e

text: The setting in the manga was based on a shrine in the Kumamoto Prefecture of Japan, known as Kamishikimi Kumanoimasu Shrine, which is dedicated to Izanagi-no-Mikoto and Izanami-no-Mikoto from Japanese mythology. The animation crew spent two hours searching the location for settings on which they could base their art. Because the story was set in the forest of a mountain god, Omori intended the art to represent a "different world" where the background scenery was obscure and the blue sky was slightly brighter than normal. Omori and his crew devoted extra attention to lighting and coloring, making the forest dim with light coming through the canopy and landing on the characters with the appropriate intensity. The contrast between light and dark was also used during the festival scene to emphasize its bizarre nature, reminding the audience that Hotaru should not be there. Because of the significance of the summer season to the story, Omori deliberately loaded the film with summer scenes, such as rustling leaves and chirring of cicadas.


title: Hotarubi no Mori e

text: According to the Omori, the idea for the opening scene was suggested by Yokoyama; following traditional cinematography, the images of scenes indirectly related to the main story were played while the opening credits appeared. Originally intended to show Gin's life before meeting Hotaru, Omori allowed the viewer to decide its relationship in time with the main story. Omori also opted to start Hotaru's narration from a time after the story's main events; showing Hotaru as an 18-year-old who had just graduated high school and heading back to visit her relatives near the forest. By having Hotaru tell the story in retrospect, Omori thought it provided a more human feel and gave more meaning to the final scene, where Hotaru expresses her hopes for the future by saying, "Come on, let's go."


title: Hotarubi no Mori e

text: One of the difficulties in adapting the manga to anime, according to Omori, was that the developing relationship between Hotaru and Gin had to be shown visually, rather than through monologue. One way in which this was done used Hotaru's yearly change in height—by subtly showing the convergence of the length of their strides when walking, the audience is led to perceive a change in their relationship. Omori also wanted to portray more depth to Hotaru's character by expanding on her school life. Although the manga depicted a brief flash of her life in middle school, the anime depicted scenes from both aspects of her life.


title: Hotarubi no Mori e

text: Omori shared a draft of the film with composer Makoto Yoshimori so that he could write music to match the tempo. However, there was some disagreement over the ending theme, which Omori and Yoshimori discussed at length over email. Although neither would compromise on key points, the issue was eventually settled and the ending theme was finalized.


title: Hotarubi no Mori e

text: Hotaru's voice actor in the anime film, Ayane Sakura, was a fan of Midorikawa and owned the original manga. In an interview, she mentioned that she was thrilled to get an audition and ultimately the role, and also admitted that she shed tears while recording. Kōki Uchiyama, who played Gin, read the manga for the audition, and confessed that he was concerned at first about how to portray his character, though his work made him feel good. The film was initially pre-scored, where the voice acting was recorded prior to the creation of the animation, but later re-recorded for the final version. According to Omori, this allowed the animation to emphasize natural pauses in the dialogue and let the cast set the rhythm and tempo.


title: Hotarubi no Mori e

text: The manga was first published in the issue of Hakusensha's "LaLa DX" in Japan. It was first reprinted on in the "tankōbon" entitled "Hotarubi no Mori e", which included four previously published romantic one-shot stories by Yuki Midorikawa. In addition to the titular short story, the book included "Hanauta Nagaruru" (April 2003), "Kurukuru Ochiba" (November 2002), and "Hibi Fukaku" (January 2003). As part of the 2003 "tankōbon" short story collection, each of the four one-shot stories were set in a different season: "Hanauta Nagaruru" in spring, "Hotarubi no Mori e" in summer, "Kurukuru Ochiba" in fall, and "Hibi Fukaku" in winter. Within the "tankōbon", the stories were arranged in order from spring to winter, although they were originally published in a different order. As of , the "tankōbon" was on its 19th printing.


title: Hotarubi no Mori e

text: On , 12 days prior to the anime movie's premiere in Japan, a new story related to "Hotarubi no Mori e" was published as part of a keepsake edition of the original manga, . The 12-page story, titled , is one of four short stories included in the keepsake edition, which also includes the original "Hotarubi no Mori e" and two other older works by Midorikawa: (2003) and (2005).


title: Hotarubi no Mori e

text: The anime film, "Hotarubi no Mori e", is categorized as a drama/romance, with a running time of 44 minutes. In March 2011, the anime version was to be put on display at the Anime Contents Expo in Chiba, Japan, along with new work on "Natsume's Book of Friends", but the event was canceled following the 2011 Tōhoku earthquake and tsunami. The opening date for the film was announced on on the film's official website. On , special pre-order tickets were sold along with the limited offer of a free poster. Around a week later, four television commercials focused on the anime's main characters were streamed from the film's official website. Sixteen days before the official release, a 96-second trailer was posted on Cinema Today, a Japanese movie website.


title: Hotarubi no Mori e

text: The film opened in Japan on , playing at Theater Umeda in Osaka and Ikebukuro's Cine Libre in Tokyo. The European premiere of "Hotarubi no Mori e" was on October 8, 2011 at the Scotland Loves Animation festival in Glasgow, followed by interviews and a Q/A session with the animation director and the producer. It was screened again at the Scotland Loves Animation festival in Edinburgh on October 14, along with two other short films produced by Brain's Base studio. It was also a late addition to the 2011 Leeds International Film Festival and shown as a free presentation on in Leeds Town Hall. "Hotarubi no Mori e" was one of 60 titles screened at the first Anime Contents Expo held at Makuhari Messe in Chiba in late . It was also shown on at the Anime Expo convention at the Los Angeles Convention Center.


title: Hotarubi no Mori e

text: Limited edition copies of the Blu-ray Disc and DVD were released in Japan on . The limited edition sets included card set illustrations, stickers, a 40-page booklet, a strap with an attached mask (like Gin's), and other limited time specials. The DVD was also released at the same time without these extras.


title: Hotarubi no Mori e

text: The original soundtrack, titled , was released on , less than a month prior to the release of the anime film. The music was recorded by Makoto Yoshimori, and the ending theme, , was sung by Shizuru Ōtaka.


title: Hotarubi no Mori e

text: The keepsake edition manga, "Aizoban Hotarubi no Mori e" by Midorikawa, ranked No. 13 on Japan's Oricon comic sales chart during , with 40,641 copies sold during its first week.


title: Hotarubi no Mori e

text: In Japan, the anime was considered a hit, attracting many fans at each screening in Tokyo for several months. Following its European premiere at the Scotland Loves Animation festival in Glasgow, "Hotarubi no Mori e" was awarded the Jury Award. In , it won the Animation Film Award at the 66th Annual Mainichi Film Awards and received at the awards ceremony held on in Kawasaki, Japan. The limited edition Blu-ray Disc also ranked No. 13 on Oricon's weekly BD sales chart between , with 7,171 copies sold in the five days following its release.


title: Hotarubi no Mori e

text: The anime film of "Hotarubi no Mori e" was well received by its reviewers, and likened to the works of Hayao Miyazaki of Studio Ghibli and Makoto Shinkai. UK Anime Network's Andy Hanley, who attended a screening at the Scotland Loves Animation festival, said it is "beautiful in its simplicity", though noting that the climax seemed a bit rushed and sudden, leaving the audience to struggle with their emotions.


title: Hotarubi no Mori e

text: Nicoletta Browne of T.H.E.M. Anime Reviews described it as a "vignette of bittersweet nostalgia", praising the anime for being a "gorgeously detailed piece with beautiful animation." Browne also wrote favorably of the story's progression, noting that its dark undertones grew heavier as the main character matured, and that the consistent characterization of Hotaru from childhood to her early teens was impressive, especially given the film's length. Browne's criticisms were limited to noting the film's short length, a clash between the cartoonish depictions of the forest spirits and the rest of the movie, and an issue with one element of plot development near the end of the film. She did note that sensitive viewers may interpret some aspects of the story as inappropriate, such as the initial age difference between the main characters and the way Gin punishes Hotaru as a child when she tries to touch him. In the case of the former, Browne noted that their romance developed only when Hotaru began to approach Gin's physical age, and with the latter, she noted that no harm was intended. In both cases, she also mentioned that cultural differences must be considered.


title: Hotarubi no Mori e

text: Both Yokoyama and Satou noted the "Japanese-ness" of the anime during the panel discussion following the main showing at the Scotland Loves Animation festival. Yokoyama had originally been concerned that foreign audiences would not fully understand and appreciate the work, but the reaction of the audience at the Glasgow showing alleviated his concerns. According to Yokoyama and Satou, elements of the story that exhibited strong elements of Japanese culture included the watermelon eating scene, the part where Gin hits young Hotaru over the head with a stick, and the scene where young Hotaru gets scared at night when she sees the face of a "yōkai" in the patterns of the wood panels on the ceiling.


title: Hotarubi no Mori e

text: Midorikawa attributed the success of "Hotarubi no Mori e" to the quality of the story, noting even those readers of the original manga who were critical of her artwork were drawn to read the story from start to finish. She speculated that hiding Gin's face behind a mask had helped mitigate some of the artistic issues for which her earlier work had been criticized. The intense pressure experienced by Midorikawa early in her manga writing career was relieved as a result of the positive feedback she received upon her success with "Hotarubi no Mori e". In 2011, she expressed excitement for the new anime film and having the manga reprinted in a new short story collection, remarking that her attempts to write about her feelings and recent experiences in relation to "Hotarubi no Mori e" brought tears to her eyes. She described the story as a "precious work" that helped her build social connections.


title: Carousel (musical)

text: Carousel is the second musical by the team of Richard Rodgers (music) and Oscar Hammerstein II (book and lyrics). The 1945 work was adapted from Ferenc Molnár's 1909 play "Liliom", transplanting its Budapest setting to the Maine coastline. The story revolves around carousel barker Billy Bigelow, whose romance with millworker Julie Jordan comes at the price of both their jobs. He participates in a robbery to provide for Julie and their unborn child; after it goes tragically wrong, he is given a chance to make things right. A secondary plot line deals with millworker Carrie Pipperidge and her romance with ambitious fisherman Enoch Snow. The show includes the well-known songs "If I Loved You", "June Is Bustin' Out All Over" and "You'll Never Walk Alone". Richard Rodgers later wrote that "Carousel" was his favorite of all his musicals.


title: Carousel (musical)

text: Following the spectacular success of the first Rodgers and Hammerstein musical, "Oklahoma!" (1943), the pair sought to collaborate on another piece, knowing that any resulting work would be compared with "Oklahoma!", most likely unfavorably. They were initially reluctant to seek the rights to "Liliom"; Molnár had refused permission for the work to be adapted in the past, and the original ending was considered too depressing for the musical theatre. After acquiring the rights, the team created a work with lengthy sequences of music and made the ending more hopeful.


title: Carousel (musical)

text: The musical required considerable modification during out-of-town tryouts, but once it opened on Broadway on April 19, 1945, it was an immediate hit with both critics and audiences. "Carousel" initially ran for 890 performances and duplicated its success in the West End in 1950. Though it has never achieved as much commercial success as "Oklahoma!", the piece has been repeatedly revived, recorded several times and was filmed in 1956. A production by Nicholas Hytner enjoyed success in 1992 in London, in 1994 in New York and on tour. Another Broadway revival opened in 2018. In 1999, "Time" magazine named "Carousel" the best musical of the 20th century.


title: Carousel (musical)

text: Ferenc Molnár's Hungarian-language drama, "Liliom", premiered in Budapest in 1909. The audience was puzzled by the work, and it lasted only thirty-odd performances before being withdrawn, the first shadow on Molnár's successful career as a playwright. "Liliom" was not presented again until after World War I. When it reappeared on the Budapest stage, it was a tremendous hit.


title: Carousel (musical)

text: Except for the ending, the plots of "Liliom" and "Carousel" are very similar. Andreas Zavocky (nicknamed Liliom, the Hungarian word for "lily", a slang term for "tough guy"), a carnival barker, falls in love with Julie Zeller, a servant girl, and they begin living together. With both discharged from their jobs, Liliom is discontented and contemplates leaving Julie, but decides not to do so on learning that she is pregnant. A subplot involves Julie's friend Marie, who has fallen in love with Wolf Biefeld, a hotel porter—after the two marry, he becomes the owner of the hotel. Desperate to make money so that he, Julie and their child can escape to America and a better life, Liliom conspires with lowlife Ficsur to commit a robbery, but it goes badly, and Liliom stabs himself. He dies, and his spirit is taken to heaven's police court. As Ficsur suggested while the two waited to commit the crime, would-be robbers like them do not come before God Himself. Liliom is told by the magistrate that he may go back to Earth for one day to attempt to redeem the wrongs he has done to his family, but must first spend sixteen years in a fiery purgatory.


title: Carousel (musical)

text: On his return to Earth, Liliom encounters his daughter, Louise, who like her mother is now a factory worker. Saying that he knew her father, he tries to give her a star he stole from the heavens. When Louise refuses to take it, he strikes her. Not realizing who he is, Julie confronts him, but finds herself unable to be angry with him. Liliom is ushered off to his fate, presumably Hell, and Louise asks her mother if it is possible to feel a hard slap as if it was a kiss. Julie reminiscently tells her daughter that it is very possible for that to happen.


title: Carousel (musical)

text: An English translation of "Liliom" was credited to Benjamin "Barney" Glazer, though there is a story that the actual translator, uncredited, was Rodgers' first major partner Lorenz Hart. The Theatre Guild presented it in New York City in 1921, with Joseph Schildkraut as Liliom, and the play was a success, running 300 performances. A 1940 revival with Burgess Meredith and Ingrid Bergman was seen by both Hammerstein and Rodgers. Glazer, in introducing the English translation of "Liliom", wrote of the play's appeal:


title: Carousel (musical)

text: And where in modern dramatic literature can such pearls be matched—Julie incoherently confessing to her dead lover the love she had always been ashamed to tell; Liliom crying out to the distant carousel the glad news that he is to be a father; the two thieves gambling for the spoils of their prospective robbery; Marie and Wolf posing for their portrait while the broken-hearted Julie stands looking after the vanishing Liliom, the thieves' song ringing in her ears; the two policemen grousing about pay and pensions while Liliom lies bleeding to death; Liliom furtively proffering his daughter the star he has stolen for her in heaven. ... The temptation to count the whole scintillating string is difficult to resist.


title: Carousel (musical)

text: In the 1920s and 1930s, Rodgers and Hammerstein both became well known for creating Broadway hits with other partners. Rodgers, with Lorenz Hart, had produced a string of over two dozen musicals, including such popular successes as "Babes in Arms" (1937), "The Boys from Syracuse" (1938) and "Pal Joey" (1940). Some of Rodgers' work with Hart broke new ground in musical theatre: "On Your Toes" was the first use of ballet to sustain the plot (in the "Slaughter on Tenth Avenue" scene), while "Pal Joey" flouted Broadway tradition by presenting a knave as its hero. Hammerstein had written or co-written the words for such hits as "Rose-Marie" (1924), "The Desert Song" (1926), "The New Moon" (1927) and "Show Boat" (1927). Though less productive in the 1930s, he wrote material for musicals and films, sharing an Oscar for his song with Jerome Kern, "The Last Time I Saw Paris", which was included in the 1941 film "Lady Be Good".


title: Carousel (musical)

text: By the early 1940s, Hart had sunk into alcoholism and emotional turmoil, becoming unreliable and prompting Rodgers to approach Hammerstein to ask if he would consider working with him. Hammerstein was eager to do so, and their first collaboration was "Oklahoma!" (1943). Thomas Hischak states, in his "The Rodgers and Hammerstein Encyclopedia", that "Oklahoma!" is "the single most influential work in the American musical theatre. In fact, the history of the Broadway musical can accurately be divided into what came before "Oklahoma!" and what came after it." An innovation for its time in integrating song, character, plot and dance, "Oklahoma!" would serve, according to Hischak, as "the model for Broadway shows for decades", and proved a huge popular and financial success. Once it was well-launched, what to do as an encore was a daunting challenge for the pair. Film producer Samuel Goldwyn saw "Oklahoma!" and advised Rodgers to shoot himself, which according to Rodgers "was Sam's blunt but funny way of telling me that I'd never create another show as good as "Oklahoma!"" As they considered new projects, Hammerstein wrote, "We're such fools. No matter what we do, everyone is bound to say, 'This is not another "Oklahoma!"' "


title: Carousel (musical)

text: "Oklahoma!" had been a struggle to finance and produce. Hammerstein and Rodgers met weekly in 1943 with Theresa Helburn and Lawrence Langner of the Theatre Guild, producers of the blockbuster musical, who together formed what they termed "the Gloat Club". At one such luncheon, Helburn and Langner proposed to Rodgers and Hammerstein that they turn Molnár's "Liliom" into a musical. Both men refused—they had no feeling for the Budapest setting and thought that the unhappy ending was unsuitable for musical theatre. In addition, given the unstable wartime political situation, they might need to change the setting from Hungary while in rehearsal. At the next luncheon, Helburn and Langner again proposed "Liliom", suggesting that they move the setting to Louisiana and make Liliom a Creole. Rodgers and Hammerstein played with the idea over the next few weeks, but decided that Creole dialect, filled with "zis" and "zose", would sound corny and would make it difficult to write effective lyrics.


title: Carousel (musical)

text: A breakthrough came when Rodgers, who owned a house in Connecticut, proposed a New England setting. Hammerstein wrote of this suggestion in 1945,


title: Carousel (musical)

text: I began to see an attractive ensemble—sailors, whalers, girls who worked in the mills up the river, clambakes on near-by islands, an amusement park on the seaboard, things people could do in crowds, people who were strong and alive and lusty, people who had always been depicted on the stage as thin-lipped puritans—a libel I was anxious to refute ... as for the two leading characters, Julie with her courage and inner strength and outward simplicity seemed more indigenous to Maine than to Budapest. Liliom is, of course, an international character, indigenous to nowhere.


title: Carousel (musical)

text: Rodgers and Hammerstein were also concerned about what they termed "the tunnel" of Molnár's second act—a series of gloomy scenes leading up to Liliom's suicide—followed by a dark ending. They also felt it would be difficult to set Liliom's motivation for the robbery to music. Molnár's opposition to having his works adapted was also an issue; he had famously turned down Giacomo Puccini when the great composer wished to transform "Liliom" into an opera, stating that he wanted the piece to be remembered as his, not Puccini's. In 1937, Molnár, who had recently emigrated to the United States, had declined another offer from Kurt Weill to adapt the play into a musical.


title: Carousel (musical)

text: The pair continued to work on the preliminary ideas for a "Liliom" adaptation while pursuing other projects in late 1943 and early 1944—writing the film musical "State Fair" and producing "I Remember Mama" on Broadway. Meanwhile, the Theatre Guild took Molnár to see "Oklahoma!" Molnár stated that if Rodgers and Hammerstein could adapt "Liliom" as beautifully as they had modified "Green Grow the Lilacs" into "Oklahoma!", he would be pleased to have them do it. The Guild obtained the rights from Molnár in October 1943. The playwright received one percent of the gross and $2,500 for "personal services". The duo insisted, as part of the contract, that Molnár permit them to make changes in the plot. At first, the playwright refused, but eventually yielded. Hammerstein later stated that if this point had not been won, "we could never have made "Carousel"."


title: Carousel (musical)

text: In seeking to establish through song Liliom's motivation for the robbery, Rodgers remembered that he and Hart had a similar problem in "Pal Joey". Rodgers and Hart had overcome the problem with a song that Joey sings to himself, "I'm Talking to My Pal". This inspired "Soliloquy". Both partners later told a story that "Soliloquy" was only intended to be a song about Liliom's dreams of a son, but that Rodgers, who had two daughters, insisted that Liliom consider that Julie might have a girl. However, the notes taken at their meeting of December 7, 1943 state: "Mr. Rodgers suggested a fine musical number for the end of the scene where Liliom discovers he is to be a father, in which he sings first with pride of the growth of a boy, and then suddenly realizes it might be a girl and changes completely."


title: Carousel (musical)

text: Hammerstein and Rodgers returned to the "Liliom" project in mid-1944. Hammerstein was uneasy as he worked, fearing that no matter what they did, Molnár would disapprove of the results. "Green Grow the Lilacs" had been a little-known work; "Liliom" was a theatrical standard. Molnár's text also contained considerable commentary on the Hungarian politics of 1909 and the rigidity of that society. A dismissed carnival barker who hits his wife, attempts a robbery and commits suicide seemed an unlikely central character for a musical comedy. Hammerstein decided to use the words and story to make the audience sympathize with the lovers. He also built up the secondary couple, who are incidental to the plot in "Liliom"; they became Enoch Snow and Carrie Pipperidge. "This Was a Real Nice Clambake" was repurposed from a song, "A Real Nice Hayride", written for "Oklahoma!" but not used.


title: Carousel (musical)

text: Molnár's ending was unsuitable, and after a couple of false starts, Hammerstein conceived the graduation scene that ends the musical. According to Frederick Nolan in his book on the team's works: "From that scene the song "You'll Never Walk Alone" sprang almost naturally." In spite of Hammerstein's simple lyrics for "You'll Never Walk Alone", Rodgers had great difficulty in setting it to music. Rodgers explained his rationale for the changed ending,


title: Carousel (musical)

text: "Liliom" was a tragedy about a man who cannot learn to live with other people. The way Molnár wrote it, the man ends up hitting his daughter and then having to go back to purgatory, leaving his daughter helpless and hopeless. We couldn't accept that. The way we ended "Carousel" it may still be a tragedy but it's a hopeful one because in the final scene it is clear that the child has at last learned how to express herself and communicate with others.


title: Carousel (musical)

text: When the pair decided to make "This Was a Real Nice Clambake" into an ensemble number, Hammerstein realized he had no idea what a clambake was like, and researched the matter. Based on his initial findings, he wrote the line, "First came codfish chowder". However, further research convinced him the proper term was "codhead chowder", a term unfamiliar to many playgoers. He decided to keep it as "codfish". When the song proceeded to discuss the lobsters consumed at the feast, Hammerstein wrote the line "We slit 'em down the back/And peppered 'em good". He was grieved to hear from a friend that lobsters are always slit down the front. The lyricist sent a researcher to a seafood restaurant and heard back that lobsters are always slit down the back. Hammerstein concluded that there is disagreement about which side of a lobster is the back. One error not caught involved the song "June Is Bustin' Out All Over", in which sheep are depicted as seeking to mate in late spring—they actually do so in the winter. Whenever this was brought to Hammerstein's attention, he told his informant that 1873 was a special year, in which sheep mated in the spring.


title: Carousel (musical)

text: Rodgers early decided to dispense with an overture, feeling that the music was hard to hear over the banging of seats as latecomers settled themselves. In his autobiography, Rodgers complained that only the brass section can be heard during an overture because there are never enough strings in a musical's small orchestra. He determined to force the audience to concentrate from the beginning by opening with a pantomime scene accompanied by what became known as "The Carousel Waltz". The pantomime paralleled one in the Molnár play, which was also used to introduce the characters and situation to the audience. Author Ethan Mordden described the effectiveness of this opening:


title: Carousel (musical)

text: Other characters catch our notice—Mr. Bascombe, the pompous mill owner, Mrs. Mullin, the widow who runs the carousel and, apparently, Billy; a dancing bear; an acrobat. But what draws us in is the intensity with which Julie regards Billy—the way she stands frozen, staring at him, while everyone else at the fair is swaying to the rhythm of Billy's spiel. And as Julie and Billy ride together on the swirling carousel, and the stage picture surges with the excitement of the crowd, and the orchestra storms to a climax, and the curtain falls, we realize that R & H have not only skipped the overture "and" the opening number but the exposition as well. They have plunged into the story, right into the middle of it, in the most intense first scene any musical ever had.


title: Carousel (musical)

text: The casting for "Carousel" began when "Oklahoma!"'s production team, including Rodgers and Hammerstein, was seeking a replacement for the part of Curly (the male lead in "Oklahoma!"). Lawrence Langner had heard, through a relative, of a California singer named John Raitt, who might be suitable for the part. Langner went to hear Raitt, then urged the others to bring Raitt to New York for an audition. Raitt asked to sing "Largo al factotum", Figaro's aria from "The Barber of Seville", to warm up. The warmup was sufficient to convince the producers that not only had they found a Curly, they had found a Liliom (or Billy Bigelow, as the part was renamed). Theresa Helburn made another California discovery, Jan Clayton, a singer/actress who had made a few minor films for MGM. She was brought east and successfully auditioned for the part of Julie.


title: Carousel (musical)

text: The producers sought to cast unknowns. Though many had played in previous Hammerstein or Rodgers works, only one, Jean Casto (cast as carousel owner Mrs. Mullin, and a veteran of "Pal Joey"), had ever played on Broadway before. It proved harder to cast the ensemble than the leads, due to the war—Rodgers told his casting director, John Fearnley, that the sole qualification for a dancing boy was that he be alive. Rodgers and Hammerstein reassembled much of the creative team that had made "Oklahoma!" a success, including director Rouben Mamoulian and choreographer Agnes de Mille. Miles White was the costume designer while Jo Mielziner (who had not worked on "Oklahoma!") was the scenic and lighting designer. Even though "Oklahoma!" orchestrator Russell Bennett had informed Rodgers that he was unavailable to work on "Carousel" due to a radio contract, Rodgers insisted he do the work in his spare time. He orchestrated "The Carousel Waltz" and "(When I Marry) Mister Snow" before finally being replaced by Don Walker. A new member of the creative team was Trude Rittmann, who arranged the dance music. Rittmann initially felt that Rodgers mistrusted her because she was a woman, and found him difficult to work with, but the two worked together on Rodgers' shows until the 1970s.


title: Carousel (musical)

text: Rehearsals began in January 1945; either Rodgers or Hammerstein was always present. Raitt was presented with the lyrics for "Soliloquy" on a five-foot long sheet of paper—the piece ran nearly eight minutes. Staging such a long solo number presented problems, and Raitt later stated that he felt that they were never fully addressed. At some point during rehearsals, Molnár came to see what they had done to his play. There are a number of variations on the story. As Rodgers told it, while watching rehearsals with Hammerstein, the composer spotted Molnár in the rear of the theatre and whispered the news to his partner. Both sweated through an afternoon of rehearsal in which nothing seemed to go right. At the end, the two walked to the back of the theatre, expecting an angry reaction from Molnár. Instead, the playwright said enthusiastically, "What you have done is so beautiful. And you know what I like best? The ending!" Hammerstein wrote that Molnár became a regular attendee at rehearsals after that.


title: Carousel (musical)

text: Like most of the pair's works, "Carousel" contains a lengthy ballet, "Billy Makes a Journey", in the second act, as Billy looks down to the Earth from "Up There" and observes his daughter. In the original production the ballet was choreographed by de Mille. It began with Billy looking down from heaven at his wife in labor, with the village women gathered for a "birthing". The ballet involved every character in the play, some of whom spoke lines of dialogue, and contained a number of subplots. The focus was on Louise, played by Bambi Linn, who at first almost soars in her dance, expressing the innocence of childhood. She is teased and mocked by her schoolmates, and Louise becomes attracted to the rough carnival people, who symbolize Billy's world. A youth from the carnival attempts to seduce Louise, as she discovers her own sexuality, but he decides she is more girl than woman, and he leaves her. After Julie comforts her, Louise goes to a children's party, where she is shunned. The carnival people reappear and form a ring around the children's party, with Louise lost between the two groups. At the end, the performers form a huge carousel with their bodies.


title: Carousel (musical)

text: The play opened for tryouts in New Haven, Connecticut on March 22, 1945. The first act was well-received; the second act was not. Casto recalled that the second act finished about 1:30 a.m. The staff immediately sat down for a two-hour conference. Five scenes, half the ballet, and two songs were cut from the show as the result. John Fearnley commented, "Now I see why these people have hits. I never witnessed anything so brisk and brave in my life." De Mille said of this conference, "not three minutes had been wasted pleading for something cherished. Nor was there any idle joking. ... We cut and cut and cut and then we went to bed." By the time the company left New Haven, de Mille's ballet was down to forty minutes.


title: Carousel (musical)

text: A major concern with the second act was the effectiveness of the characters He and She (later called by Rodgers "Mr. and Mrs. God"), before whom Billy appeared after his death. Mr. and Mrs. God were depicted as a New England minister and his wife, seen in their parlor. The couple was still part of the show at the Boston opening. Rodgers said to Hammerstein, "We've got to get God out of that parlor". When Hammerstein inquired where he should put the deity, Rodgers replied, "I don't care where you put Him. Put Him on a ladder for all I care, only get Him out of that parlor!" Hammerstein duly put Mr. God (renamed the Starkeeper) atop a ladder, and Mrs. God was removed from the show. Rodgers biographer Meryle Secrest terms this change a mistake, leading to a more fantastic afterlife, which was later criticized by "The New Republic" as "a Rotarian atmosphere congenial to audiences who seek not reality but escape from reality, not truth but escape from truth".


title: Carousel (musical)

text: Hammerstein wrote that Molnár's advice, to combine two scenes into one, was key to pulling together the second act and represented "a more radical departure from the original than any change we had made". A reprise of "If I Loved You" was added in the second act, which Rodgers felt needed more music. Three weeks of tryouts in Boston followed the brief New Haven run, and the audience there gave the musical a warm reception. An even shorter version of the ballet was presented the final two weeks in Boston, but on the final night there, de Mille expanded it back to forty minutes, and it brought the house down, causing both Rodgers and Hammerstein to embrace her.


title: Carousel (musical)

text: Two young female millworkers in 1873 Maine visit the town's carousel after work. One of them, Julie Jordan, attracts the attention of the barker, Billy Bigelow ("The Carousel Waltz"). When Julie lets Billy put his arm around her during the ride, Mrs. Mullin, the widowed owner of the carousel, tells Julie never to return. Julie and her friend, Carrie Pipperidge, argue with Mrs. Mullin. Billy arrives and, seeing that Mrs. Mullin is jealous, mocks her; he is fired from his job. Billy, unconcerned, invites Julie to join him for a drink. As he goes to get his belongings, Carrie presses Julie about her feelings toward him, but Julie is evasive ("You're a Queer One, Julie Jordan"). Carrie has a beau too, fisherman Enoch Snow ("(When I Marry) Mister Snow"), to whom she is newly engaged. Billy returns for Julie as the departing Carrie warns that staying out late means the loss of Julie's job. Mr. Bascombe, owner of the mill, happens by along with a policeman, and offers to escort Julie to her home, but she refuses and is fired. Left alone, she and Billy talk about what life might be like if they were in love, but neither quite confesses to the growing attraction they feel for each other ("If I Loved You").


title: Carousel (musical)

text: Over a month passes, and preparations for the summer clambake are under way ("June Is Bustin' Out All Over"). Julie and Billy, now married, live at Julie's cousin Nettie's spa. Julie confides in Carrie that Billy, frustrated over being unemployed, hit her. Carrie has happier news—she is engaged to Enoch, who enters as she discusses him ("(When I Marry) Mister Snow (reprise))". Billy arrives with his ne'er-do-well whaler friend, Jigger. The former barker is openly rude to Enoch and Julie, then leaves with Jigger, followed by a distraught Julie. Enoch tells Carrie that he expects to become rich selling herring and to have a large family, larger perhaps than Carrie is comfortable having ("When the Children Are Asleep").


title: Carousel (musical)

text: Jigger and his shipmates, joined by Billy, then sing about life on the sea ("Blow High, Blow Low"). The whaler tries to recruit Billy to help with a robbery, but Billy declines, as the victim—Julie's former boss, Mr. Bascombe—might have to be killed. Mrs. Mullin enters and tries to tempt Billy back to the carousel (and to her). He would have to abandon Julie; a married barker cannot evoke the same sexual tension as one who is single. Billy reluctantly mulls it over as Julie arrives and the others leave. She tells him that she is pregnant, and Billy is overwhelmed with happiness, ending all thoughts of returning to the carousel. Once alone, Billy imagines the fun he will have with Bill Jr.—until he realizes that his child might be a girl, and reflects soberly that "you've got to be a "father" to a girl" ("Soliloquy"). Determined to provide financially for his future child, whatever the means, Billy decides to be Jigger's accomplice.


title: Carousel (musical)

text: The whole town leaves for the clambake. Billy, who had earlier refused to go, agrees to join in, to Julie's delight, as he realizes that being seen at the clambake is integral to his and Jigger's alibi ("Act I Finale").


title: Carousel (musical)

text: Everyone reminisces about the huge meal and much fun ("This Was a Real Nice Clambake"). Jigger tries to seduce Carrie; Enoch walks in at the wrong moment, and declares that he is finished with her ("Geraniums In the Winder"), as Jigger jeers ("There's Nothin' So Bad for a Woman"). The girls try to comfort Carrie, but for Julie all that matters is that "he's your feller and you love him" ("What's the Use of Wond'rin'?"). Julie sees Billy trying to sneak away with Jigger and, trying to stop him, feels the knife hidden in his shirt. She begs him to give it to her, but he refuses and leaves to commit the robbery.


title: Carousel (musical)

text: As they wait, Jigger and Billy gamble with cards. They stake their shares of the anticipated robbery spoils. Billy loses: his participation is now pointless. Unknown to Billy and Jigger, Mr. Bascombe, the intended victim, has already deposited the mill's money. The robbery fails: Bascombe pulls a gun on Billy while Jigger escapes. Billy stabs himself with his knife; Julie arrives just in time for him to say his last words to her and die. Julie strokes his hair, finally able to tell him that she loved him. Carrie and Enoch, reunited by the crisis, attempt to console Julie; Nettie arrives and gives Julie the resolve to keep going despite her despair ("You'll Never Walk Alone").


title: Carousel (musical)

text: Billy's defiant spirit ("The Highest Judge of All") is taken Up There to see the Starkeeper, a heavenly official. The Starkeeper tells Billy that the good he did in life was not enough to get into heaven, but so long as there is a person alive who remembers him, he can return for a day to try to do good to redeem himself. He informs Billy that fifteen years have passed on Earth since his suicide, and suggests that Billy can get himself into heaven if he helps his daughter, Louise. He helps Billy look down from heaven to see her (instrumental ballet: "Billy Makes a Journey"). Louise has grown up to be lonely and bitter. The local children ostracize her because her father was a thief and a wife-beater. In the dance, a young ruffian, much like her father at that age, flirts with her and abandons her as too young. The dance concludes, and Billy is anxious to return to Earth and help his daughter. He steals a star to take with him, as the Starkeeper pretends not to notice.


title: Carousel (musical)

text: Outside Julie's cottage, Carrie describes her visit to New York with the now-wealthy Enoch. Carrie's husband and their many children enter to fetch her—the family must get ready for the high school graduation later that day. Enoch Jr., the oldest son, remains behind to talk with Louise, as Billy and the Heavenly Friend escorting him enter, invisible to the other characters. Louise confides in Enoch Jr. that she plans to run away from home with an acting troupe. He says that he will stop her by marrying her, but that his father will think her an unsuitable match. Louise is outraged: each insults the other's father, and Louise orders Enoch Jr. to go away. Billy, able to make himself visible at will, reveals himself to the sobbing Louise, pretending to be a friend of her father. He offers her a gift—the star he stole from heaven. She refuses it and, frustrated, he slaps her hand. He makes himself invisible, and Louise tells Julie what happened, stating that the slap miraculously felt like a kiss, not a blow—and Julie understands her perfectly. Louise retreats to the house, as Julie notices the star that Billy dropped; she picks it up and seems to feel Billy's presence ("If I Loved You (Reprise)").


title: Carousel (musical)

text: Billy invisibly attends Louise's graduation, hoping for one last chance to help his daughter and redeem himself. The beloved town physician, Dr. Seldon (who resembles the Starkeeper) advises the graduating class not to rely on their parents' success or be held back by their failure (words directed at Louise). Seldon prompts everyone to sing an old song, "You'll Never Walk Alone". Billy, still invisible, whispers to Louise, telling her to believe Seldon's words, and when she tentatively reaches out to another girl, she learns she does not have to be an outcast. Billy goes to Julie, telling her at last that he loved her. As his widow and daughter join in the singing, Billy is taken to his heavenly reward.


title: Carousel (musical)

text: The original Broadway production opened at the Majestic Theatre on April 19, 1945. The dress rehearsal the day before had gone badly, and the pair feared the new work would not be well received. One successful last-minute change was to have de Mille choreograph the pantomime. The movement of the carnival crowd in the pantomime had been entrusted to Mamoulian, and his version was not working. Rodgers had injured his back the previous week, and he watched the opening from a stretcher propped in a box behind the curtain. Sedated with morphine, he could see only part of the stage. As he could not hear the audience's applause and laughter, he assumed the show was a failure. It was not until friends congratulated him later that evening that he realized that the curtain had been met by wild applause. Bambi Linn, who played Louise, was so enthusiastically received by the audience during her ballet that she was forced to break character, when she next appeared, and bow. Rodgers' daughter Mary caught sight of her friend, Stephen Sondheim, both teenagers then, across several rows; both had eyes wet with tears.


title: Carousel (musical)

text: The original production ran for 890 performances, closing on May 24, 1947. The original cast included John Raitt (Billy), Jan Clayton (Julie), Jean Darling (Carrie), Eric Mattson (Enoch Snow), Christine Johnson (Nettie Fowler), Murvyn Vye (Jigger), Bambi Linn (Louise) and Russell Collins (Starkeeper). In December 1945, Clayton left to star in the Broadway revival of "Show Boat" and was replaced by Iva Withers; Raitt was replaced by Henry Michel in January 1947; Darling was replaced by Margot Moser.


title: Carousel (musical)

text: After closing on Broadway, the show went on a national tour for two years. It played for five months in Chicago alone, visited twenty states and two Canadian cities, covered and played to nearly two million people. The touring company had a four-week run at New York City Center in January 1949.<ref name="NYT/Calta 1949-01-25">Calta, Louis. "'Carousel' opens tonight at City Center". "The New York Times", January 25, 1949, p. 27. Retrieved on December 21, 2010.</ref> Following the City Center run, the show was moved back to the Majestic Theatre in the hopes of filling the theatre until "South Pacific" opened in early April. However, ticket sales were mediocre, and the show closed almost a month early.<ref name="NYT/Calta 1949-02-28">Calta, Louis. "'Carousel' to end run on Saturday". "The New York Times", February 28, 1949, p. 15. Retrieved on December 21, 2010.</ref>


title: Carousel (musical)

text: The musical premiered in the West End, London, at the Theatre Royal, Drury Lane on June 7, 1950. The production was restaged by Jerome Whyte, with a cast that included Stephen Douglass (Billy), Iva Withers (Julie) and Margot Moser (Carrie). "Carousel" ran in London for 566 performances, remaining there for over a year and a half.


title: Carousel (musical)

text: "Carousel" was revived in 1954 and 1957 at City Center, presented by the New York City Center Light Opera Company. Both times, the production featured Barbara Cook, though she played Carrie in 1954 and Julie in 1957 (playing alongside Howard Keel as Billy). The production was then taken to Belgium to be performed at the 1958 Brussels World's Fair, with David Atkinson as Billy, Ruth Kobart as Nettie, and Clayton reprising the role of Julie, which she had originated.


title: Carousel (musical)

text: In August 1965, Rodgers and the Music Theater of Lincoln Center produced "Carousel" for 47 performances. John Raitt reprised the role of Billy, with Jerry Orbach as Jigger and Reid Shelton as Enoch Snow. The roles of the Starkeeper and Dr. Seldon were played by Edward Everett Horton in his final stage appearance. The following year, New York City Center Light Opera Company brought "Carousel" back to City Center for 22 performances, with Bruce Yarnell as Billy and Constance Towers as Julie.


title: Carousel (musical)

text: Nicholas Hytner directed a new production of "Carousel" in 1992, at London's Royal National Theatre, with choreography by Sir Kenneth MacMillan and designs by Bob Crowley. In this staging, the story begins at the mill, where Julie and Carrie work, with the music slowed down to emphasize the drudgery. After work ends, they move to the shipyards and then to the carnival. As they proceed on a revolving stage, carnival characters appear, and at last the carousel is assembled onstage for the girls to ride. Louise is seduced by the ruffian boy during her Act 2 ballet, set around the ruins of a carousel. Michael Hayden played Billy not as a large, gruff man, but as a frustrated smaller one, a time bomb waiting to explode. Joanna Riding (Julie) and Janie Dee (Carrie) won Olivier Awards for their performances, the production won Best Musical Revival, and Hytner won as director. Patricia Routledge played Nettie. Clive Rowe, as Enoch, was nominated for an Olivier Award. Enoch and Carrie were cast as an interracial couple whose eight children, according to the review in "The New York Times", looked like "a walking United Colors of Benetton ad". The production's limited run from December 1992 through March 1993 was a sellout. It re-opened at the Shaftesbury Theatre in London in September 1993, presented by Cameron Mackintosh, where it continued until May 1994.


title: Carousel (musical)

text: The Hytner production moved to New York's Vivian Beaumont Theater, where it opened on March 24, 1994, and ran for 322 performances. This won five Tony Awards, including best musical revival, as well as awards for Hytner, MacMillan, Crowley and Audra McDonald (as Carrie). The cast also included Sally Murphy as Julie, Shirley Verrett as Nettie, Fisher Stevens as Jigger and Eddie Korbich as Enoch. One change made from the London to the New York production was to have Billy strike Louise across the face, rather than on the hand. According to Hayden, "He does the one unpardonable thing, the thing we can't forgive. It's a challenge for the audience to like him after that." The Hytner "Carousel" was presented in Japan in May 1995. A U.S. national tour with a scaled-down production began in February 1996 in Houston and closed in May 1997 in Providence, Rhode Island. Producers sought to feature young talent on the tour, with Patrick Wilson as Billy and Sarah Uriarte Berry, and later Jennifer Laura Thompson, as Julie.


title: Carousel (musical)

text: A revival opened at London's Savoy Theatre on December 2, 2008, after a week of previews, starring Jeremiah James (Billy), Alexandra Silber (Julie) and Lesley Garrett (Nettie). The production received warm to mixed reviews. It closed in June 2009, a month early. Michael Coveney, writing in "The Independent", admired Rodgers' music but stated, "Lindsay Posner's efficient revival doesn't hold a candle to the National Theatre 1992 version". A production at Theater Basel, Switzerland, in 2016 to 2017, with German dialogue, was directed by Alexander Charim and choreographed by Teresa Rotemberg. Bryony Dwyer, Christian Miedl and Cheryl Studer starred, respectively, as Julie Jordan, Billy Bigelow and Nettie Fowler. A semi-staged revival by the English National Opera opened at the London Coliseum in 2017. The production was directed by Lonny Price, conducted by David Charles Abell, and starred Alfie Boe as Billy, Katherine Jenkins as Julie and Nicholas Lyndhurst as the Starkeeper. The production received mixed to positive reviews.


title: Carousel (musical)

text: The third Broadway revival began previews in February 2018 at the Imperial Theatre and officially opened on April 12. It closed on September 16, 2018. The production starred Jessie Mueller, Joshua Henry, Renée Fleming, Lindsay Mendez and Alexander Gemignani. The production was directed by Jack O'Brien and choreographed by Justin Peck. The songs "Geraniums in the Winder" and "There's Nothin' So Bad for a Woman" were cut from this revival. Ben Brantley wrote in "The New York Times", "The tragic inevitability of "Carousel" has seldom come across as warmly or as chillingly as it does in this vividly reimagined revival. ... [W]ith thoughtful and powerful performances by Mr. Henry and Ms. Mueller, the love story at the show's center has never seemed quite as ill-starred or, at the same time, as sexy. ... [T]he Starkeeper ... assumes new visibility throughout, taking on the role of Billy's angelic supervisor." Brantley strongly praised the choreography, all the performances and the designers. He was unconvinced, however, by the "mother-daughter dialogue that falls so abrasively on contemporary ears", where Julie tries to justify loving an abusive man, and other scenes in Act 2, particularly those set in heaven, and the optimism of the final scene. Most of the reviewers agreed that while the choreography and performances (especially the singing) were excellent, characterizing the production as sexy and sumptuous, O'Brien's direction did little to help the show deal with modern sensibilities about men's treatment of women, instead indulging in nostalgia.


title: Carousel (musical)

text: From July to September 2021 the Regent's Park Open Air Theatre in London is presenting a staging by its artistic director Timothy Sheader, with choreography by Drew McOnie. The cast includes Carly Bawden as Julie, Declan Bennett as Billy and Joanna Riding as Nettie.


title: Carousel (musical)

text: A film version of the musical was made in 1956, starring Gordon MacRae and Shirley Jones. It follows the musical's story fairly closely, although a prologue, set in the Starkeeper's heaven, was added. The film was released only a few months after the release of the film version of "Oklahoma!" It garnered some good reviews, and the soundtrack recording was a best seller. As the same stars appeared in both pictures, however, the two films were often compared, generally to the disadvantage of "Carousel". Thomas Hischak, in "The Rodgers and Hammerstein Encyclopedia", later wondered "if the smaller number of "Carousel" stage revivals is the product of this often-lumbering<nowiki> [film] </nowiki> musical".


title: Carousel (musical)

text: There was also an abridged (100 minute) 1967 network television version that starred Robert Goulet, with choreography by Edward Villella.


title: Carousel (musical)

text: The New York Philharmonic presented a staged concert version of the musical from February 28 to March 2, 2013, at Avery Fisher Hall. Kelli O'Hara played Julie, with Nathan Gunn as Billy, Stephanie Blythe as Nettie, Jessie Mueller as Carrie, Jason Danieley as Enoch, Shuler Hensley as Jigger, John Cullum as the Starkeeper, and Kate Burton as Mrs. Mullin. Tiler Peck danced the role of Louise to choreography by Warren Carlyle. The production was directed by John Rando and conducted by Rob Fisher. Charles Isherwood of "The New York Times" wrote, "this is as gorgeously sung a production of this sublime 1945 Broadway musical as you are ever likely to hear." It was broadcast as part of the PBS "Live from Lincoln Center" series, premiering on April 26, 2013.


title: Carousel (musical)

text: Rodgers designed "Carousel" to be an almost continuous stream of music, especially in Act 1. In later years, Rodgers was asked if he had considered writing an opera. He stated that he had been sorely tempted to, but saw "Carousel" in operatic terms. He remembered, "We came very close to opera in the Majestic Theatre. ... There's much that is operatic in the music."


title: Carousel (musical)

text: Rodgers uses music in "Carousel" in subtle ways to differentiate characters and tell the audience of their emotional state. In "You're a Queer One, Julie Jordan", the music for the placid Carrie is characterized by even eighth-note rhythms, whereas the emotionally restless Julie's music is marked by dotted eighths and sixteenths; this rhythm will characterize her throughout the show. When Billy whistles a snatch of the song, he selects Julie's dotted notes rather than Carrie's. Reflecting the close association in the music between Julie and the as-yet unborn Louise, when Billy sings in "Soliloquy" of his daughter, who "gets hungry every night", he uses Julie's dotted rhythms. Such rhythms also characterize Julie's Act 2 song, "What's the Use of Wond'rin'". The stable love between Enoch and Carrie is strengthened by her willingness to let Enoch not only plan his entire life, but hers as well. This is reflected in "When the Children Are Asleep", where the two sing in close harmony, but Enoch musically interrupts his intended's turn at the chorus with the words "Dreams that won't be interrupted". Rodgers biographer Geoffrey Block, in his book on the Broadway musical, points out that though Billy may strike his wife, he allows her musical themes to become a part of him and never interrupts her music. Block suggests that, as reprehensible as Billy may be for his actions, Enoch requiring Carrie to act as "the little woman", and his having nine children with her (more than she had found acceptable in "When the Children are Asleep") can be considered to be even more abusive.


title: Carousel (musical)

text: The twelve-minute "bench scene", in which Billy and Julie get to know each other and which culminates with "If I Loved You", according to Hischak, "is considered the most completely integrated piece of music-drama in the American musical theatre". The scene is almost entirely drawn from Molnár and is one extended musical piece; Stephen Sondheim described it as "probably the single most important moment in the revolution of contemporary musicals". "If I Loved You" has been recorded many times, by such diverse artists as Frank Sinatra, Barbra Streisand, Sammy Davis Jr., Mario Lanza and Chad and Jeremy. The D-flat major theme that dominates the music for the second act ballet seems like a new melody to many audience members. It is, however, a greatly expanded development of a theme heard during "Soliloquy" at the line "I guess he'll call me 'The old man' ".


title: Carousel (musical)

text: When the pair discussed the song that would become "Soliloquy", Rodgers improvised at the piano to give Hammerstein an idea of how he envisioned the song. When Hammerstein presented his collaborator with the lyrics after two weeks of work (Hammerstein always wrote the words first, then Rodgers would write the melodies), Rodgers wrote the music for the eight-minute song in two hours. "What's the Use of Wond'rin' ", one of Julie's songs, worked well in the show but was never as popular on the radio or for recording, and Hammerstein believed that the lack of popularity was because he had concluded the final line, "And all the rest is talk" with a hard consonant, which does not allow the singer a vocal climax.


title: Carousel (musical)

text: Irving Berlin later stated that "You'll Never Walk Alone" had the same sort of effect on him as the 23rd Psalm. When singer Mel Tormé told Rodgers that "You'll Never Walk Alone" had made him cry, Rodgers nodded impatiently. "You're supposed to." The frequently recorded song has become a widely accepted hymn. The cast recording of "Carousel" proved popular in Liverpool, like many Broadway albums, and in 1963, the Brian Epstein-managed band, Gerry and the Pacemakers had a number-one hit with the song. At the time, the top ten hits were played before Liverpool F.C. home matches; even after "You'll Never Walk Alone" dropped out of the top ten, fans continued to sing it, and it has become closely associated with the soccer team and the city of Liverpool. A BBC program, "Soul Music", ranked it alongside "Silent Night" and "Abide With Me" in terms of its emotional impact and iconic status.


title: Carousel (musical)

text: The cast album of the 1945 Broadway production was issued on 78s, and the score was significantly cut—as was the 1950 London cast recording. Theatre historian John Kenrick notes of the 1945 recording that a number of songs had to be abridged to fit the 78 format, but that there is a small part of "Soliloquy" found on no other recording, as Rodgers cut it from the score immediately after the studio recording was made.


title: Carousel (musical)

text: A number of songs were cut for the 1956 film, but two of the deleted numbers had been recorded and were ultimately retained on the soundtrack album. The expanded CD version of the soundtrack, issued in 2001, contains all of the singing recorded for the film, including the cut portions, and nearly all of the dance music. The recording of the 1965 Lincoln Center revival featured Raitt reprising the role of Billy. Studio recordings of "Carousel"'s songs were released in 1956 (with Robert Merrill as Billy, Patrice Munsel as Julie, and Florence Henderson as Carrie), 1962 and 1987. The 1987 version featured a mix of opera and musical stars, including Samuel Ramey, Barbara Cook and Sarah Brightman. Kenrick recommends the 1962 studio recording for its outstanding cast, including Alfred Drake, Roberta Peters, Claramae Turner, Lee Venora, and Norman Treigle.


title: Carousel (musical)

text: Both the London (1993) and New York (1994) cast albums of the Hytner production contain portions of dialogue that, according to Hischak, speak to the power of Michael Hayden's portrayal of Billy. Kenrick judges the 1994 recording the best all-around performance of "Carousel" on disc, despite uneven singing by Hayden, due to Sally Murphy's Julie and the strong supporting cast (calling Audra McDonald the best Carrie he has heard). The Stratford Festival issued a recording in 2015.


title: Carousel (musical)

text: The musical received almost unanimous rave reviews after its opening in 1945. According to Hischak, reviews were not as exuberant as for "Oklahoma!" as the critics were not taken by surprise this time. John Chapman of the "Daily News" termed it "one of the finest musical plays I have ever seen and I shall remember it always". "The New York Times"'s reviewer, Lewis Nichols, stated that "Richard Rodgers and Oscar Hammerstein 2d, who can do no wrong, have continued doing no wrong in adapting "Liliom" into a musical play. Their "Carousel" is on the whole delightful." Wilella Waldorf of the "New York Post", however, complained, ""Carousel" seemed to us a rather long evening. The "Oklahoma!" formula is becoming a bit monotonous and so are Miss de Mille's ballets. All right, go ahead and shoot!" "Dance Magazine" gave Linn plaudits for her role as Louise, stating, "Bambi doesn't come on until twenty minutes before eleven, and for the next forty minutes, she practically holds the audience in her hand". Howard Barnes in the "New York Herald Tribune" also applauded the dancing: "It has waited for Miss de Mille to come through with peculiarly American dance patterns for a musical show to become as much a dance as a song show."


title: Carousel (musical)

text: When the musical returned to New York in 1949, "The New York Times" reviewer Brooks Atkinson described "Carousel" as "a conspicuously superior musical play ... "Carousel", which was warmly appreciated when it opened, seems like nothing less than a masterpiece now." In 1954, when "Carousel" was revived at City Center, Atkinson discussed the musical in his review:


title: Carousel (musical)

text: "Carousel" has no comment to make on anything of topical importance. The theme is timeless and universal: the devotion of two people who love each other through thick and thin, complicated in this case by the wayward personality of the man, who cannot fulfill the responsibilities he has assumed.  ... Billy is a bum, but "Carousel" recognizes the decency of his motives and admires his independence. There are no slick solutions in "Carousel".


title: Carousel (musical)

text: Stephen Sondheim noted the duo's ability to take the innovations of "Oklahoma!" and apply them to a serious setting: ""Oklahoma!" is about a picnic, "Carousel" is about life and death." Critic Eric Bentley, on the other hand, wrote that "the last scene of "Carousel" is an impertinence: I refuse to be lectured to by a musical comedy scriptwriter on the education of children, the nature of the good life, and the contribution of the American small town to the salvation of souls."


title: Carousel (musical)

text: "New York Times" critic Frank Rich said of the 1992 London production: "What is remarkable about Mr. Hytner's direction, aside from its unorthodox faith in the virtues of simplicity and stillness, is its ability to make a 1992 audience believe in Hammerstein's vision of redemption, which has it that a dead sinner can return to Earth to do godly good." The Hytner production in New York was hailed by many critics as a grittier "Carousel", which they deemed more appropriate for the 1990s. Clive Barnes of the "New York Post" called it a "defining "Carousel"—hard-nosed, imaginative, and exciting."


title: Carousel (musical)

text: Critic Michael Billington has commented that "lyrically ["Carousel"] comes perilously close to acceptance of the inevitability of domestic violence." BroadwayWorld.com stated in 2013 that "Carousel" is now "considered somewhat controversial in terms of its attitudes on domestic violence" because Julie chooses to stay with Billy despite the abuse; actress Kelli O'Hara noted that the domestic violence that Julie "chooses to deal with – is a real, existing and very complicated thing. And exploring it is an important part of healing it."


title: Carousel (musical)

text: Rodgers considered "Carousel" his favorite of all his musicals and wrote, "it affects me deeply every time I see it performed". In 1999, "Time" magazine, in its "Best of the Century" list, named "Carousel" the Best Musical of the 20th century, writing that Rodgers and Hammerstein "set the standards for the 20th century musical, and this show features their most beautiful score and the most skillful and affecting example of their musical storytelling". Hammerstein's grandson, Oscar Andrew Hammerstein, in his book about his family, suggested that the wartime situation made "Carousel"'s ending especially poignant to its original viewers, "Every American grieved the loss of a brother, son, father, or friend ... the audience empathized with <nowiki>[Billy's]</nowiki> all-too-human efforts to offer advice, to seek forgiveness, to complete an unfinished life, and to bid a proper good-bye from beyond the grave." Author and composer Ethan Mordden agreed with that perspective:


title: Carousel (musical)

text: If "Oklahoma!" developed the moral argument for sending American boys overseas, "Carousel" offered consolation to those wives and mothers whose boys would only return in spirit. The meaning lay not in the tragedy of the present, but in the hope for a future where no one walks alone.


title: Carousel (musical)

text: "Note: The Tony Awards were not established until 1947, and so "Carousel" was not eligible to win any Tonys at its premiere."


title: Frances Tomelty

text: Frances Tomelty (born 6 October 1948) is a Northern Irish actress whose numerous television credits include "Strangers" (1978–1979), "Testament of Youth" (1979), "Inspector Morse" (1988), "Cracker" (1993), "The Amazing Mrs Pritchard" (2006), "The White Queen" (2013) and "Unforgotten" (2015). Her theatre roles include playing Kate in the original production of "Dancing at Lughnasa" in Dublin (1990). She was married to the musician Sting from 1976 to 1984.


title: Frances Tomelty

text: Tomelty's television work has included "Survivors", "Bergerac", "Blue Money", "Inspector Morse", "Lucy Sullivan is Getting Married", "Strangers", "Midsomer Murders", "Coronation Street", "Cracker", "Spooks", "Casualty", "The Amazing Mrs Pritchard", "Holby City", "", "The Royal", "Waking the Dead", "Silent Witness", "Unforgotten", "Catastrophe", "Death in Paradise" as well as big-budget adaptations "Atlantis", "Merlin", "The White Queen", and "A Perfect Spy".


title: Frances Tomelty

text: Tomelty's theatre roles include Elaine Navazio in "Last of the Red Hot Lovers" by Neil Simon (1979 British premiere directed by Eric Thompson at the Royal Exchange, Manchester); Mia Schuurman in "In the Talking Dark" by Dolores Walshe (1989) (directed by Braham Murray at the Royal Exchange, Manchester); Kate in "Dancing at Lughnasa" by Brian Friel (1990) (directed by Patrick Mason at the Abbey Theatre, Dublin); Momma in "Doctor Heart" by Peter Muller (1991 British premiere directed by Braham Murray at the Royal Exchange, Manchester); and Mrs Alving in "Ghosts" by Henrik Ibsen (2000) (directed by Braham Murray at the Royal Exchange, Manchester). Tomelty also portrayed Lady Macbeth in the Old Vic's disastrous 1980 production of "Macbeth", with Peter O'Toole in the title role.


title: Frances Tomelty

text: On 1 May 1976, Tomelty married musician Sting – best known as the lead singer and bassist for the rock band The Police – after knowing him for two years. They met on the set of a rock-musical called "Rock Nativity". She played the Virgin Mary; he played in the band. They have two children together, Joseph and Fuschia Katherine “Kate” Sumner. Tomelty and Sting divorced in 1984 following Sting's affair with actress Trudie Styler. The split was controversial. As "The Independent" reported in 2006, Tomelty "just happened" to be Styler's best friend; "Sting and Frances lived next door to Trudie in Bayswater, west London, for several years" before Sting and Styler began their relationship.


title: Liam Howlett

text: Liam Paul Paris Howlett (born 21 August 1971) is an English record producer, musician, songwriter, co-founder and leader of the British electronic band The Prodigy, and an occasional DJ.


title: Liam Howlett

text: He was trained in classical piano (from childhood). At the age of 14, he mixed songs recorded from the radio using the pause button on his cassette player. He was first influenced by hip hop music and culture when he began to attend school at Alec Hunter High School in Braintree. He learned breakdancing alongside his crew called The Pure City Breakers, and DJed in his first band Cut 2 Kill. After a fight at a gig in support of the band, Liam left Cut 2 Kill and started to write his own music.


title: Liam Howlett

text: In 1998, Howlett was offered the chance to do a mix for Mary Anne Hobbs' radio show. He dug out some of his old favourite tracks again and this prompted him to release an edited (due to some copyright issues) version of the mix in February 1999. It was the first material which was recorded in his new home studio "The Dirtchamber", so accordingly the album was to be called "Prodigy present The Dirtchamber Sessions Volume One".


title: Liam Howlett

text: In 1990, Howlett composed music for the film "The Uranus Experiment". Described as an "anal space opera", the film featured the first sex scene shot in microgravity.


title: Liam Howlett

text: In the end of January 2006, a compilation album titled "Back to Mine: Liam Prodigy" was released. It was a collection of Howlett's favourite tunes, including an exclusive Prodigy track called "Wake the Fuck Up", which was often performed as an intro in The Prodigy's live concerts.


title: Liam Howlett

text: Howlett was a co-producer on the track "Immunize" from Australian drum and bass act Pendulum's third album "Immersion", which was released in 2010.


title: Liam Howlett

text: In 2012, Howlett co-produced the first single "We Hate Everyone" from K.Flay's EP "Eyes Shut". He also produced the song ‘Stop, Focus’ from the same EP.


title: Liam Howlett

text: On March 30 2022, it was announced that Howlett would compose the musical score for the Netflix's movie Choose or Die


title: Liam Howlett

text: Howlett has been married to Natalie Appleton of All Saints since 2002. They have a son, born 2 March 2004, and live in Hampstead, London.


title: Liam Howlett

text: Howlett once owned a McLaren F1 supercar, chassis #23 of the 106 ever manufactured. He later sold it to former F1 team owner Paul Stewart.


title: Babylon's Fall

text: Babylon's Fall is an action role-playing game developed by PlatinumGames and published by Square Enix. The game was released for Microsoft Windows, PlayStation 4 and PlayStation 5 on March 3, 2022. The game received generally negative reviews from critics, and was a significant commercial disaster for Square Enix, with the game only reaching a concurrent player count of less than 1,200 on release day and declining sharply afterwards. Six months after the game's release, Square Enix announced the game's servers will be shut down in February 2023.


title: Babylon's Fall

text: "Babylon's Fall" is an action role-playing hack and slash video game played from a third-person perspective. The player assumes control of a Sentinel, who must scale a massive tower known as the Ziggurat. Players started at a hub area known as Sentinel Force HQ where they can interact with other players, visit shops or blacksmiths to purchase gear and upgrades, and access quests. Each quest can be played solo, though the game also supports four-player cooperative multiplayer. Players ascend three to four floors in each quest until they reach the summit of the tower. Along the way, players will unlock loot which can be used to enhance the strength of the characters.


title: Babylon's Fall

text: Each sentinel is equipped with two weapons. However, the player is also equipped with a device known as Gideon's Coffin. The coffin allows players to carry two more spectral weapons. These weapons can no longer be used once the spectral energy bar is depleted, though it will gradually refill over time. The game features five different weapons types, including sword, hammer, bow, rod, and shield. At the end of each level, players would be awarded with loot and gear. The quality of the gear depends on the player's performance in a level. Players can achieve better performance by varying their attack style, eliminating enemies quickly, and dodging attacks.


title: Babylon's Fall

text: "Babylon's Fall" was developed by PlatinumGames. According to producer Junichi Ehara, the team wanted to expand on the combat system of "" and experiment with multiplayer with "Babylon's Fall". The game's brushstroke visual art-style was inspired by classic European oil paintings, and the graphics were created using canvas-like texture. The game also borrowed assets from "Final Fantasy XIV", a massively multiplayer online video game created by publisher Square Enix. The protagonist of the story was compared to a Roman gladiator by scenario writer Kenichi Iwao. The first closed beta was held in July 2021 in Japan and August 2021 in Europe and North America. The beta received a lukewarm reception, with players complaining about the game's illegible visual style. The development team evaluated players feedback and adjusted the game's graphics to ensure that they are less blurry and pixelated.


title: Babylon's Fall

text: Production on the game began in 2017, around the time of "Nier: Automata"s release. The game was revealed at E3 2018 during Square Enix's own press conference and was originally slated to release in 2019. The first look at gameplay would be seen at Sony's December 2019 State of Play presentation. It was shown again at E3 2021, now labeled a "game as a service". This means that the game would be supported with free updates, new gameplay modes and content upon release. PlatinumGames opened a new Tokyo studio in 2020 to help the studio make live service games. The developers have stated that the game was always envisioned as a multiplayer, live service title, and expressed regret over some players having the false impression that it was a single player game because of previous footage only showing solo combat. One of the game's directors, Takahisa Sugiyama, stated that the challenge of creating an online, live-service game was "a lot harder to do than we thought". This, along with the impact of the COVID-19 pandemic and the release of new hardware, are cited as reasons for the game's lengthy delay.


title: Babylon's Fall

text: The game was released on March 3, 2022 for Microsoft Windows, PlayStation 4 and PlayStation 5, with cross-platform play support. Players who purchased the game's Digital Deluxe version could access the game on February 28, 2022. In September 2022, PlatinumGames and Square Enix announced that the game's servers would be shut down on February 23, 2023.


title: Babylon's Fall

text: "Babylon's Fall" received "generally unfavorable" reviews according to review aggregator Metacritic. Metacritic listed "Babylon's Fall" as the third-worst game of 2022.


title: Babylon's Fall

text: "Destructoid" liked the combat, praising the "coffin combos" and "slick" dodges, but felt the actual structure of the game was boring; "most of the challenges are the same hallways, remixed, and the same enemies, slightly tweaked". "Rock Paper Shotgun" disliked the progression of the game, writing that it was needlessly confusing; "You rush through corridors and into progressively harder arenas... Occasionally there are yellow orbs to collect on your way, although I haven't been told what these do. Beat an arena and the game will give you a rank, like Stone or Bronze or Pure Platinum, which also nets you... nothing?".


title: Babylon's Fall

text: On Steam, the game has an all-time high of 1,166 concurrent players, which fell to just one player in May 2022. In Japan, the physical PlayStation 4 version of "Babylon’s Fall" sold 2,885 copies within its first week of release, making it the twenty-fourth bestselling retail game of the week in the country. The PlayStation 5 version sold 2,224 copies in the country during the same week, making it the twenty-seventh bestselling Japan retail game throughout the week.


title: Japheth

text: Japheth ( "Yép̄eṯ", in pausa "Yā́p̄eṯ"; ""; ) is one of the three sons of Noah in the Book of Genesis, in which he plays a role in the story of Noah's drunkenness and the curse of Ham, and subsequently in the Table of Nations as the ancestor of the peoples of the Aegean Sea, Anatolia, and elsewhere. In medieval and early modern European tradition he was considered to be the progenitor of the European peoples, while Islamic traditions also include the Chinese people among his descendants.


title: Japheth

text: The meaning of the name "Japheth" is disputable. There are two possible sources to the meaning of the name:


title: Japheth

text: Japheth first appears in the Hebrew Bible as one of the three sons of Noah, saved from the Flood through the Ark. In the Book of Genesis, they are always in the order "Shem, Ham, and Japheth" when all three are listed. However Genesis 9:24 calls Ham the youngest, and Genesis 10:21 refers ambiguously to Shem as "brother of Japheth the elder," which could mean that either is the eldest. Most modern writers accept Shem-Ham-Japheth as reflecting birth order, but this is not always the case: Moses and Rachel also appear at the head of such lists despite explicit descriptions of them as younger siblings.


title: Japheth

text: Following the Flood, Japheth is featured in the story of Noah's drunkenness. Ham sees Noah drunk and naked in his tent and tells his brothers, who then cover their father with a cloak while avoiding the sight; when Noah awakes he curses Canaan, the son of Ham, and blesses Shem and Japheth: "Blessed be the Lord God of Shem and may Canaan be his slave; and may God enlarge Japheth and may he dwell in the tents of Shem, and may Canaan be his slave!”


title: Japheth

text: Chapter 10 of Genesis, the Table of Nations, describes how earth was populated by the sons of Noah following the Flood, beginning with the descendants of Japheth:


title: Japheth

text: The Book of Genesis is the first of the five books of the Torah, that contains the account of Israel's origins as a people. Some scholars see this as a product of the Achaemenid Empire (probably 450–350 BCE), although some would place its production in the Hellenistic period (333–164 BCE) or even the Hasmonean dynasty (140–37 BCE). As almost none of the persons, places and stories in the first eleven chapters of Genesis (called the primeval history) are ever mentioned anywhere else in the Bible, some scholars surmise that the story of Japheth and his brothers is a late composition, attached to Genesis to serve as an introduction to that book and to the Torah.