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I understand you\'ve put a lot of work and time into it and i fully appreciate it, it\'s a stunning piece of scripting bar a few bugs and i wish you the best of luck with it in the future :)\n

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I\'m not sure what to expect wouldn\'t work. All I know is that when I run the compatibility check, several issues with my server show up. These are warning flags to me, especially when using a plugin like this - will it expose me to security risks? Will it fail to serve pages to my visitors correctly?

\n

If they aren\'t essential, then perhaps they shouldn\'t be checked. :)\n

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No sorry, no visible errors. But if you have any suggestions where to check (log or other files) I will check it better.\n

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I can\'t seem to find any specific steps to reproduce, it just seems to be random pages showing 404. I will say that I cleared the checkbox on the W3TC setting to \"Cache 404 (not found) pages,\" and I have not see the problem since.\n

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Yes, the unsuccessfully file transfer queue is empty.

\n

All images uploaded to the Media Library are uploaded to the CDN instantly, just not the NextGen gallery images

\n

If I click the Upload Custom Files button then the new NextGen gallery images upload successfully. They are just not automatically uploaded when I add a new image.

\n

I have \"Automatically upload minify files\" and \"Export changed files automatically\" both checked. Auto upload interval is set to 3600 seconds\n

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\r\n bobred on ""Requested URI has a trailing slash" problem in 0.9.2.3"\r\n

\r\n

\r\n

My apologies if it came across as being rude, it wasn\'t intended. I understand you\'ve put a lot of work and time into it and i fully appreciate it, it\'s a stunning piece of scripting bar a few bugs and i wish you the best of luck with it in the future :)\n

\r\n

\r\n drokkon on "Compatibility Check Fails, Server Configured Correctly"\r\n

\r\n

\r\n

I\'m not sure what to expect wouldn\'t work. All I know is that when I run the compatibility check, several issues with my server show up. These are warning flags to me, especially when using a plugin like this - will it expose me to security risks? Will it fail to serve pages to my visitors correctly?

\n

If they aren\'t essential, then perhaps they shouldn\'t be checked. :)\n

\r\n

\r\n fabiosirna on "Not all file are copied on the CDN"\r\n

\r\n

\r\n

No sorry, no visible errors. But if you have any suggestions where to check (log or other files) I will check it better.\n

\r\n\r\n

\r\n View Feed\r\n

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\"4.1-reader\"WordPress for Android version 4.1 is sporting some major design changes. Navigation in the app has been redesigned to remove the the hamburger button in favor of four simplified tabs spanning the top of the screen.

\n

The ubiquitous hamburger icon, used on apps and websites for years, is slowly falling out of fashion on the web. While the side navigation drawer does a good job of keeping nav items out of sight, it comes at the cost of user engagement. Hamburger menus are also inconvenient for one-handed device operation.

\n

Version 4.1 of WordPress for Android has been redesigned to display a tabbed action bar with quick access to your sites, the reader, user account settings, and notifications. The sites menu will allow you to manage any of your connected sites and includes a short menu for publishing, stats, theme customization, and access to the full dashboard.

\n

\"tag-autocompletion\"Another new feature in 4.1 is tag auto-completion. When adding a tag on the post settings screen, users will now receive suggestions (based on existing tags) while typing.

\n

Stats have also been improved to provide a noticeably faster viewing experience. The app now takes just a fraction of the time it previously required to load stats data. Interacting with this feature no longer feels like visiting a foreign land.

\n

Overall the 4.1 release is a big leap forward for WordPress’ usability on Android. The navigation redesign is more intuitive and smaller features are continuing to be refined with each release. The 4.1 update should have already hit devices, so Android users can open up the app to check out everything that’s new.

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And remember the $5 billion website, 5 billion we spent on a website, and to this day it doesn’t work. A $5 billion dollar website.I have so many websites. I have them all over the place. I hire people, they do a website. It costs me $3.

\n

We were just talking about government websites! The transcript of Donald Trump’s 2016 presidential announcement is one of the more interesting things I’ve read in a while. “And I promise I will never be in a bicycle race. That I can tell you.” In the spirit of alway saying something positive, I do agree that La Guardia airport is a hot mess.

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BackPress supporters hosted a preliminary discussion yesterday to flesh out plans for bringing the long-abandoned project back to life. Organizers Roy Sivan and John James Jacoby were surprised by how many developers were interested in the prospect of reviving BackPress. Unfortunately, the live Google Hangout wasn’t broadcasted publicly and was limited 10 people, which gave the group a rocky, disorganized start on a closed channel.

\n

WordPress lead developer Andrew Nacin joined the discussion briefly before it started to say that BackPress, which he characterized as “five year old vaporware,” is “terrible and should be thrown away.” His view reflects many others – those who may see the value in making WordPress more modular but don’t believe that investing in BackPress is the way to get there.

\n

@royboy789 @JJJ BackPress made sense as an experiement in the era it was born, but now it should just be left to die a peaceful death.

\n

— Ryan McCue (@rmccue) June 16, 2015

\n

\n

@royboy789 @JJJ It splits the ecosystem with no real appreciable gain. If you don\'t want the core admin, don\'t use it.

\n

— Ryan McCue (@rmccue) June 16, 2015

\n

\n

Let me save you guys a few thousand hours and headaches. http://t.co/ILp8nMDFL5

\n

— Brian Krogsgard (@Krogsgard) June 16, 2015

\n

\n

“I think that all the objectives here can be accomplished without doing it in a separate project,” Nacin said.

\n

“If you want to make a big difference in WordPress, then go contribute to the REST API. This isn’t it.”

\n

Ryan McCue, one of the lead developers on the WP REST API project, joined the discussion to encourage BackPress supporters to consider making it into a feature plugin, which he believes would be a more productive avenue for radical experimentation.

\n

Sivan pointed out that the problem with this path is that it still requires the use of a plugin, whereas BackPress is meant for developers who don’t want to have to install WordPress and plugins in order to experiment with it.

\n

Responding to commenters on yesterday’s post, Sivan summarized his thoughts about pursuing BackPress as a feature plugin:

\n

I think the takeaway from today is to decide what it is the development community wants out of WordPress, and see if feature plugins are the way to go, or if there is some validity in building out this system (whatever it may be called) as what we hope can be re-integrated into core at some point. Whether that means taking backwards compatibility into account or not has yet to be seen.

\n

“It would probably be better to start from scratch; it’s not even close to up to date with current WP code it was meant to emulate,” Matt Mullenweg said in response to the idea. “It’s a fun experiment regardless, especially if people don’t think of it as Official WordPress Policy or Future (which it isn’t).”

\n

After nearly three hours of discussion about possible ways forward, those present concluded that it would be best to reconvene next week to identify the problems that BackPress would solve. Most of those in attendance were developers passionate about creating a more flexible, modular WordPress and willing to see if a BackPress revival could be a possibility for addressing that.

\n

Our conversation touched on the high level and next steps are coming, and we are planning on meeting next week same day, at 2PM (PST)

\n

— Roy Sivan (@royboy789) June 16, 2015

\n

\n

Organizers created a GitHub repository for exploring a new BackPress and will meet every Tuesday at 2PM PST. Anyone interested to join the discussion can participate on the new #backpress Slack channel, hosted at https://advancedwp.slack.com.

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The WordPress Theme Review Team is now curating a library of code examples on GitHub for theme developers. The first section is devoted to customizer code with examples for panels, sections, basic controls, and advanced controls.

\n

\"trt-code-example-library\"

\n

“We will continue to add to the library, including more examples of custom controls, and more advanced examples, such as postMessage and other JavaScript fun, modifying the style of the Customizer panel, and others as suggested/requested,” TRT member Chip Bennett said in the announcement.

\n

In April, the Theme Review Team decided to enforce the use of the customizer for building theme options, offering six months for authors to comply with the new guideline before violations would be rejected during updates. This decision immediately necessitated better documentation for building with the customizer, and the code example library fits in with this effort.

\n

During a TRT meeting last month, Chip Bennett argued against the promotion of Customizer API frameworks, such as Redux/Kirki, and emphasized the need for educating theme authors on how to implement the API.

\n

“Instead of encouraging use of a ‘known’ framework, we should take the opportunity to teach,” he said.

\n

“Essentially, I don’t want the TRT to encourage/facilitate/enable the use of Customizer frameworks at the expense of helping developers actually learn how to implement the Customizer API.”

\n

Bennett suggested that the team focus on teaching basic implementation of the core Customizer API, followed by education on how to implement custom controls.

\n

“Rather than creating a list of known frameworks, let’s focus on building our library of known, good custom controls, and work on tutorials for the core API, proper sanitization, use of custom controls, etc.,” he said.

\n

This is where the GitHub-hosted code examples library comes in handy for those who want to build themes that will meet WordPress.org guidelines. The team welcomes suggestions, requests, questions, and pull requests from anyone who wants to contribute to the effort.

\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}s:7:\"pubDate\";a:1:{i:0;a:5:{s:4:\"data\";s:31:\"Wed, 17 Jun 2015 19:03:43 +0000\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}}s:32:\"http://purl.org/dc/elements/1.1/\";a:1:{s:7:\"creator\";a:1:{i:0;a:5:{s:4:\"data\";s:13:\"Sarah Gooding\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}}}}i:4;a:6:{s:4:\"data\";s:13:\"\n \n \n \n \n \n \n\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";s:5:\"child\";a:2:{s:0:\"\";a:5:{s:5:\"title\";a:1:{i:0;a:5:{s:4:\"data\";s:29:\"Matt: Open Source Datacenters\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}s:4:\"guid\";a:1:{i:0;a:5:{s:4:\"data\";s:21:\"http://ma.tt/?p=45156\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}s:4:\"link\";a:1:{i:0;a:5:{s:4:\"data\";s:45:\"http://ma.tt/2015/06/open-source-datacenters/\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}s:11:\"description\";a:1:{i:0;a:5:{s:4:\"data\";s:669:\"

How Facebook is eating the $140 billion hardware market — I’ve always said that open source eventually dominates every market it enters, and with enterprise hardware it’s in the very, very early stages but this article is chock-full of examples of the economies of scale when companies start collaborating on shared problems. The problem is one company’s inefficiency and wasted cost is another company’s revenue. Cool to look at in the context of yesterday’s post on government.

\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}s:7:\"pubDate\";a:1:{i:0;a:5:{s:4:\"data\";s:31:\"Wed, 17 Jun 2015 06:05:00 +0000\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}}s:32:\"http://purl.org/dc/elements/1.1/\";a:1:{s:7:\"creator\";a:1:{i:0;a:5:{s:4:\"data\";s:4:\"Matt\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}}}}i:5;a:6:{s:4:\"data\";s:13:\"\n \n \n \n \n \n \n\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";s:5:\"child\";a:2:{s:0:\"\";a:5:{s:5:\"title\";a:1:{i:0;a:5:{s:4:\"data\";s:74:\"WPTavern: Menu Customizer Officially Approved for Merge Into WordPress 4.3\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}s:4:\"guid\";a:1:{i:0;a:5:{s:4:\"data\";s:28:\"http://wptavern.com/?p=45298\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}s:4:\"link\";a:1:{i:0;a:5:{s:4:\"data\";s:84:\"http://wptavern.com/menu-customizer-officially-approved-for-merge-into-wordpress-4-3\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}s:11:\"description\";a:1:{i:0;a:5:{s:4:\"data\";s:3492:\"

\"menu-customizer-feature\"

\n

The Menu Customizer plugin was merged into WordPress trunk today and will be one of the headline features of the 4.3 release.

\n

Roughly a week ago the feature plugin was tentatively approved for merge, pending an a11y audit and PHP and JS tests. Following an overwhelming amount of negative feedback from the community, core contributors published what was essentially a rallying call to get the plugin ready for merge, reaffirming their commitment to iterating with the customizer.

\n

Nick Halsey, the plugin’s developer, published a number of UX flow and performance comparisons of the admin menus screen vs. menus in the customizer. Ryan Boren and Konstantin Obenland also published iPhone 5 and 6 emulations of the plugin in action.

\n

Halsey’s overall conclusion was that managing menus in the customizer takes less time in most cases than managing menus in the admin:

\n

For the tests, I added links to both Menus UIs to the admin bar (4.3 will have one link here, to the Customizer). I ran into a few areas where the experience could be improved, but in terms of timing, the Customizer version wins in most of these scenarios currently. Note that this is intended to compare the experience for power users.

\n

The Menu Customizer is one of the most controversial new features added to core in WordPress’ recent history. It will be interesting to see how it plays out when users discover it in 4.3. Those who were not in favor of the feature voiced their opposition in comments on the original proposal and in independent blogs around the web but were ultimately overruled.

\n

Decisions not options: duplicate the interfaces, bringing complex things into little panels & containers. We decide for you #WordPress #rant

\n

— David Decker (@deckerweb) June 16, 2015

\n

\n

At this juncture, no official timeline has been set for removing the menus screen in the WordPress admin. The existing menus will continue to be maintained for the time being, which should provide an easier transition for users who are surprised by the new feature in 4.3.

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Yesterday Nick Haskins, creator of Aesop Story Engine, released a new search plugin for WordPress. WP Live Search utilizes the new WP REST API, in combination with Backbone.js and Underscore.js, to deliver live search results as the user types in a search query. The result is instantaneous searching that doesn’t require pressing enter or refreshing the page.

\n

WP Live Search is very much a working prototype but also provides a practical example of the WP REST API in action. I tested the plugin and the short clip below shows an example of searching through thousands of articles. Each result is displayed neatly with its corresponding featured image.

\n

\"wp-live-search\"

\n

Haskins created the client-side search plugin to power the new search feature inside Lasso, his frontend editing plugin. He released the prototype on WordPress.org in order to get usability testing and feedback from a larger group of users. He’s also building the plugin as part of his day job, so it’s being developed with several different audiences in mind.

\n

“Using the REST API was super important because we’re searching on ‘keyup’ and if that went through admin-ajax.php then shared hosts would likely melt down,” Haskins said. “So because it’s all client-side, it’s super lightweight and anything can run it.”

\n

The feature is already built into Lasso but will not be released until Haskins has the chance to gather more feedback.

\n

“I’m interested to see HOW users search, is the search too fast, is it too slow, etc.,” he said. “All of this will lead to a perfect search feature inside of Lasso.”

\n

Haskins was previously hesitant to utilize the WP REST API before it has landed in WordPress core but the recent progress and momentum on the project inspired him to go for it.

\n

“I was avoiding the REST API, but with a tentative merge this fall, and V2 going out, I think the time is ripe,” he said. “In using the REST API, I’ve learned that it’s very use case dependent and is really just another tool. There’s a time and place for it.”

\n

WP Live Search is still under active development and may not be suitable for use in production just yet, but is functional and ready for testing. Here’s how to take it for a spin:

\n
    \n
  1. Install WP Live Search.
    2. \n
  2. Install the official WP REST API plugin.
    3. \n
  3. Add the shortcode [wp_live_search] to a page.
    4. \n
\n

The shortcode accepts a few attributes, including type, placeholder, results, and target. More details are available on the plugin’s description page.

\n

Haskins plans to add support for custom post types in the next major update to the plugin. If you’re interested in contributing, you can find WP Live Search on GitHub.

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WordPress developers Roy Sivan and John James Jacoby have taken a keen interest in reviving the BackPress project. They will be discussing their plans to bring it back to life on a live Google Hangout at 1PM PST (8pm UTC) today, June 16.

\n

BackPress is a PHP library of core functionality for web applications. It essentially provides the core of bbPress and powers the GlotPress application, which enables WordPress, BuddyPress, and bbPress to be translated into different languages.

\n

It’s no secret that bbPress project lead John James Jacoby is an ardent fan of BackPress, but few could have predicted that the project would be making a come back. In Sivan’s announcement in the Advanced WordPress Facebook group, he briefly outlined their intentions for BackPress’ future:

\n

After a few conversations at WordCamp Miami, we both want to bring it back. My vision is for it to be up to date with current WP, and for it to be the WP you install when you don’t want the Dashboard, but to build something from scratch using modules / plugins.

\n

Commenters responded positively to the announcement and Sivan and Jacoby plan to open the project up to contributors in the near future.

\n

“The current state of BackPress is a mess,” Sivan said. “Unfortunately, it can’t be just overwritten, so our main goal is to talk action plan, how to get it to a place that is more up to date, then start adding modularity to it.

\n

“My vision is you still get the easy installer, but things like wp-admin are just modules, and even modular within that per UI, but that shall be discussed as we move forward.”

\n

Once the BackPress code is up to date, the duo hope to turn it into a usable starting point for application development.

\n

“This + JSON REST API could be the next evolution of WordPress for developers,” Sivan said.

\n

For more details on the history of BackPress, check out Jeff Chandler’s 2010 interview with Beau Lebens. If you’re interested in the future of the project, make sure to tune in at 1PM PST. The Google Hangouts link will be posted in the comments of the announcement. Here’s a link for those who are not part of the group:

\n

BackPress hangout. Want to join https://t.co/Iua5rbY2ix Want to lurk? https://t.co/KGdsPizrtt

\n

— John James Jacoby (@JJJ) June 16, 2015

\n

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Fast Company has a great and in-depth look at the United States Digital Service (and similar programs across the government) that is really interesting. They have a number of people involved that I really respect, and I can’t wait to see the results of it not just in the remainder of Obama’s term, but the coming decade. It’s shocking how much is spent on IT at not just the federal level, but the waste at the state and municipal level is even more shocking in many ways because there is so much duplication across the country (and the world). I’ll be blogging more about this theme this week.

\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}s:7:\"pubDate\";a:1:{i:0;a:5:{s:4:\"data\";s:31:\"Tue, 16 Jun 2015 00:00:03 +0000\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}}s:32:\"http://purl.org/dc/elements/1.1/\";a:1:{s:7:\"creator\";a:1:{i:0;a:5:{s:4:\"data\";s:4:\"Matt\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}}}}i:9;a:6:{s:4:\"data\";s:13:\"\n \n \n \n \n \n \n\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";s:5:\"child\";a:2:{s:0:\"\";a:5:{s:5:\"title\";a:1:{i:0;a:5:{s:4:\"data\";s:66:\"WPTavern: Postmatic Adds Importer for Subscribe to Comments Plugin\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}s:4:\"guid\";a:1:{i:0;a:5:{s:4:\"data\";s:28:\"http://wptavern.com/?p=45180\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}s:4:\"link\";a:1:{i:0;a:5:{s:4:\"data\";s:76:\"http://wptavern.com/postmatic-adds-importer-for-subscribe-to-comments-plugin\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}s:11:\"description\";a:1:{i:0;a:5:{s:4:\"data\";s:3138:\"

\"postmatic\"

\n

Over the weekend Postmatic version 1.2.3 was released with a new importer for the Subscribe to Comments plugin. Founder Jason Lemieux and his team launched the 100% email-based commenting service in April and have been steadily adding importers for users of other various comment subscription plugins. Postmatic launched with importers for Mailpoet, Mailchimp, and one-click migration of subscribers from Jetpack.

\n

Subscribe to Comments is a popular old plugin created by Mark Jaquith and is currently in use on 80,000+ installations. The plugin hasn’t been updated for more than two years and many users in its support forums are eagerly looking for an alternative.

\n

With over 80,000 sites depending on an older, unmaintained plugin, Lemieux and his team saw a ripe opportunity to create an importer to fill the gap. Subscribe to Comments users can conveniently migrate with one click:

\n

We’ve built a new migration tool into Postmatic 1.2.3 which will allow Subscribe to Comments users to convert their legacy subscribers into shiny new Postmatic subscribers. It all happens with just one click, invisibly, in the background. From then on out notifications of new comments will be sent to old subscribers except this time they’ll be able to continue the conversation by just hitting reply.

\n

The migration tool also works with variations of Subscribe to Comments, including Subscribe to Comments Reloaded and Subscribe to Double-Opt-In Comments. The importer is another strategic addition that will likely win Postmatic more new users.

\n

Postmatic is aiming to become a big player in WordPress comments and is continuing to build out more products centered around enhancing engagement. In addition to expanding the user base of the free Postmatic plugin, the team is also busy beta testing Epoch, its next major release. Epoch is currently available on WordPress.org and aims to bring 100% realtime chat and commenting to WordPress’ native commenting system. Keep your eyes on the Postmatic team in the coming days, as they ready their next round of innovations.

\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}s:7:\"pubDate\";a:1:{i:0;a:5:{s:4:\"data\";s:31:\"Mon, 15 Jun 2015 22:57:32 +0000\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}}s:32:\"http://purl.org/dc/elements/1.1/\";a:1:{s:7:\"creator\";a:1:{i:0;a:5:{s:4:\"data\";s:13:\"Sarah Gooding\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}}}}i:10;a:6:{s:4:\"data\";s:13:\"\n \n \n \n \n \n \n\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";s:5:\"child\";a:2:{s:0:\"\";a:5:{s:5:\"title\";a:1:{i:0;a:5:{s:4:\"data\";s:39:\"WPTavern: o2 is Now Available on GitHub\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}s:4:\"guid\";a:1:{i:0;a:5:{s:4:\"data\";s:28:\"http://wptavern.com/?p=45188\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}s:4:\"link\";a:1:{i:0;a:5:{s:4:\"data\";s:49:\"http://wptavern.com/o2-is-now-available-on-github\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}s:11:\"description\";a:1:{i:0;a:5:{s:4:\"data\";s:3618:\"

\"o2-on-github\"

\n

This weekend at WordCamp Denver, Kevin Conboy announced that Automattic’s long-awaited O2 project is now publicly available on GitHub. In a recent interview with WP Tavern, Matt Mullenweg confirmed that the o2 development team is shifting its focus to WordPress.com’s core products but that the o2 code would be public for anyone to use.

\n

o2 was is the successor to P2, the innovative group blogging theme created to power communications at Automattic. P2 was released in 2009 with the tagline “Blogging at the speed of thought.” It introduced quick posting from the front page and real-time updates.

\n

o2 shares P2’s tagline but, unlike its predecessor, it was created to be a plugin that is not dependent on a specific theme.

\n

@devinsays @michaelarestad that\'s the theory!

\n

— Kevin Conboy (@alternatekev) June 15, 2015

\n

\n

However, it’s not guaranteed to work with any theme, so if you want the best experience you should test it out with the p2-breathe theme, as recommended in the GitHub installation instructions. o2 requires the Genericon’d plugin and if you want the ability to insert code blocks, it requires the SyntaxHighlighter Evolved plugin.

\n

The readme.txt on GitHub cautions that “multisite self-hosted installs have not yet been tested and may not work.” Although the plugin was written to shine within a network environment with cross-site search and cross-site posting, the network features are not guaranteed to work for self-hosted users. However, the improved real-time commenting, drag-and-drop media upload, and other enhancements may make using O2 worthwhile on single site WordPress installations.

\n

A cursory look at the issues queue indicates that some of the features that work on WordPress.com may still be buggy for self-hosted installations, such as @mentions in posts in comments. The good news for those who were eagerly awaiting o2’s release is that the code, while not completely polished and bug-free, is now public on GitHub. Even though Automattic is shifting its focus away from the project, anyone who wants to help improve it can submit a pull request or fork o2 for their own use.

\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}s:7:\"pubDate\";a:1:{i:0;a:5:{s:4:\"data\";s:31:\"Mon, 15 Jun 2015 17:30:18 +0000\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}}s:32:\"http://purl.org/dc/elements/1.1/\";a:1:{s:7:\"creator\";a:1:{i:0;a:5:{s:4:\"data\";s:13:\"Sarah Gooding\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}}}}i:11;a:6:{s:4:\"data\";s:13:\"\n \n \n \n \n \n \n\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";s:5:\"child\";a:2:{s:0:\"\";a:5:{s:5:\"title\";a:1:{i:0;a:5:{s:4:\"data\";s:21:\"Matt: Priceless Words\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}s:4:\"guid\";a:1:{i:0;a:5:{s:4:\"data\";s:21:\"http://ma.tt/?p=45151\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}s:4:\"link\";a:1:{i:0;a:5:{s:4:\"data\";s:37:\"http://ma.tt/2015/06/priceless-words/\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}s:11:\"description\";a:1:{i:0;a:5:{s:4:\"data\";s:405:\"

“It’s easy to be very busy but not get anything done that you’ll look back a year from now and say was worthwhile.”

\n

“You’ll get a lot of contradictory advice, and often neither side is wrong.”

\n

Entrepreneur.com collected a few quotes from me and blogged some context for each.

\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}s:7:\"pubDate\";a:1:{i:0;a:5:{s:4:\"data\";s:31:\"Mon, 15 Jun 2015 01:25:09 +0000\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}}s:32:\"http://purl.org/dc/elements/1.1/\";a:1:{s:7:\"creator\";a:1:{i:0;a:5:{s:4:\"data\";s:4:\"Matt\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}}}}i:12;a:6:{s:4:\"data\";s:13:\"\n \n \n \n \n \n \n\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";s:5:\"child\";a:2:{s:0:\"\";a:5:{s:5:\"title\";a:1:{i:0;a:5:{s:4:\"data\";s:37:\"Matt: How Tesla Will Change The World\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}s:4:\"guid\";a:1:{i:0;a:5:{s:4:\"data\";s:21:\"http://ma.tt/?p=45149\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}s:4:\"link\";a:1:{i:0;a:5:{s:4:\"data\";s:53:\"http://ma.tt/2015/06/how-tesla-will-change-the-world/\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}s:11:\"description\";a:1:{i:0;a:5:{s:4:\"data\";s:149:\"

How Tesla Will Change The World from the great Wait But Why.

\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}s:7:\"pubDate\";a:1:{i:0;a:5:{s:4:\"data\";s:31:\"Sat, 13 Jun 2015 23:25:05 +0000\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}}s:32:\"http://purl.org/dc/elements/1.1/\";a:1:{s:7:\"creator\";a:1:{i:0;a:5:{s:4:\"data\";s:4:\"Matt\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}}}}i:13;a:6:{s:4:\"data\";s:13:\"\n \n \n \n \n \n \n\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";s:5:\"child\";a:2:{s:0:\"\";a:5:{s:5:\"title\";a:1:{i:0;a:5:{s:4:\"data\";s:31:\"Matt: Munchery Eating the World\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}s:4:\"guid\";a:1:{i:0;a:5:{s:4:\"data\";s:21:\"http://ma.tt/?p=45143\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}s:4:\"link\";a:1:{i:0;a:5:{s:4:\"data\";s:47:\"http://ma.tt/2015/06/munchery-eating-the-world/\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}s:11:\"description\";a:1:{i:0;a:5:{s:4:\"data\";s:380:\"

Shervin has an amazing write-up on how Munchery is literally eating the world, and Sherpa’s continuing investment there. If you haven’t tried Munchery yet they’re now in San Francisco, Los Angeles, Seattle, and New York.

\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}s:7:\"pubDate\";a:1:{i:0;a:5:{s:4:\"data\";s:31:\"Sat, 13 Jun 2015 03:31:21 +0000\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}}s:32:\"http://purl.org/dc/elements/1.1/\";a:1:{s:7:\"creator\";a:1:{i:0;a:5:{s:4:\"data\";s:4:\"Matt\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}}}}i:14;a:6:{s:4:\"data\";s:13:\"\n \n \n \n \n \n \n\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";s:5:\"child\";a:2:{s:0:\"\";a:5:{s:5:\"title\";a:1:{i:0;a:5:{s:4:\"data\";s:26:\"Post Status: What is Code?\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}s:4:\"guid\";a:1:{i:0;a:5:{s:4:\"data\";s:31:\"https://poststatus.com/?p=13013\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}s:4:\"link\";a:1:{i:0;a:5:{s:4:\"data\";s:36:\"https://poststatus.com/what-is-code/\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}s:11:\"description\";a:1:{i:0;a:5:{s:4:\"data\";s:16332:\"

Today I read perhaps the single best article I’ve ever read on programming.

\n

Paul Ford has written the definitive guide for explaining a profession that employs 11 million people and occupies 7 million more hobbyists’ time by answering the question, “What is code?”

\n

He wrote the article for everyone, he says, but specifically he wrote it for the editor of Bloomberg. Whether you’re a programmer already, in a business where you work with programmers, or just want to learn a bit more about the thousands of frameworks for 0s and 1s that run our world, I think the article is for you.

\n

It’s not fair to attempt a summary of the many points Paul makes, but I’ll highlight some of my favorite passages and also summarize some of the topics he covers. However, I can not offer each point the justice they deserve, so honestly if you really want the best experience, read the original and not this.

\n

The only benefit of my article is that at just over 2,000 words it’s 5% of the length of the original. I’d encourage everyone to read the entire article. I’m sure I’ll share it individually hundreds of times in my future.

\n

Here is MY three-word summary of my article for busy people: Reevaluate your life.

\n

— Paul Ford (@ftrain) June 12, 2015

\n

\n

Are you still not convinced to commit to it? Okay, fine. Here are my favorite parts:

\n

Where is code?

\n

While the entire article answers, “What is code?”, he starts by answering, “Where is code?” Code is much broader than the web. It’s pervasive. Everywhere.

\n

Most programmers aren’t working on building a widely recognized application like Microsoft Word. Software is everywhere. It’s gone from a craft of fragile, built-from-scratch custom projects to an industry of standardized parts, where coders absorb and improve upon the labors of their forebears (even if those forebears are one cubicle over). Software is there when you switch channels and your cable box shows you what else is on. You get money from an ATM—software. An elevator takes you up five stories—the same. Facebook releases software every day to something like a billion people, and that software runs inside Web browsers and mobile applications. Facebook looks like it’s just pictures of your mom’s crocuses or your son’s school play—but no, it’s software.

\n

Computers are dumb

\n

Until they’re not. But today, computers really don’t know anything; they return things based on what we put in them, and they can do so many things faster than we can.

\n

Every character truly, truly matters. Every single stupid misplaced semicolon, space where you meant tab, bracket instead of a parenthesis—mistakes can leave the computer in a state of panic. The trees don’t know where to put their leaves. Their roots decay. The boxes don’t stack neatly. For not only are computers as dumb as a billion marbles, they’re also positively Stradivarian in their delicacy.

\n

Programming languages

\n

Paul spends a ton of time talking about various programming languages, their origins, their styles, their adoptions, their usefulness, and how they’ve evolved.

\n

He primarily focuses on C (and how it’s fast but not object oriented) and Java (and how it’s object oriented but not fast, relatively). Amazingly, he manages to talk about many, many languages, their attributes, and yet explain them in a way that nearly anyone can understand.

\n

I have to admit something: I am so far from a classically trained developer that I found this focus of the article to be incredibly educational. I learned the wrong way, from the tip of the pyramid down. If you consider markup and styles the very tip, and then WordPress is a bit below that as a framework for PHP — and you are still only part way down the pyramid. PHP is built with C and C compiles to machine code. His article helped me understand the pyramid from the other direction much better.

\n

Programmer culture

\n

An important piece of the article was around culture. He spends time both on programmer attitudes and broader programming culture, such as conferences.

\n

Languages have agendas. People glom onto them. Blunt talk is seen as a good quality in a developer, a sign of an “engineering mindset”—spit out every opinion as quickly as possible, the sooner to reach a technical consensus. Expect to be told you’re wrong; expect to tell other people they’re wrong. (Masculine anger, bluntly expressed, is part of the industry.)

\n

Coding is a culture of blurters. This can yield fast decisions, but it penalizes people who need to quietly compose their thoughts, rewarding fast-twitch thinkers who harrumph efficiently. Programmer job interviews, which often include abstract and meaningless questions that must be answered immediately on a whiteboard, typify this culture. Regular meetings can become sniping matches about things that don’t matter. The shorthand term for that is “bikeshedding.” (Who cares what color the bike shed is painted? Well …)

\n

Code culture is very, very broad, but the geographic and cultural core is the Silicon Valley engine of progress. The Valley mythologizes young geniuses with vast sums. To its credit, this culture works; to its shame, it doesn’t work for everyone.

\n

At any moment some new thing could catch fire and disrupt the tribal ebb and flow. Instagram was written in Python and sold for $2 billion, so Python had a moment of glory. The next mind-blowing app could show up, written in some new language—and start everyone taking that more seriously. Within 18 months your skills could be, if not quite valueless, suspect.

\n

I was in a meeting once where someone said, “How long will it take to fix that?” One person, who’d been at the company for years, said, “Three months.” A new person, who’d just come from a world of rapidly provisioned cloud microservices, said, “Three minutes.” They were both correct. That’s how change enters into this world. Slowly at first, then on the front page of Hacker News.

\n

Programmers carve out a sliver of cognitive territory for themselves and go to conferences, and yet they know their position is vulnerable. They get defensive when they hear someone suggest that Python is better than Ruby, because [insert 500-comment message thread here]. Is the next great wave swelling somewhere, and will it wash away Java when it comes? Will Go conquer Python? Do I need to learn JavaScript to remain profitable? Programmers are often angry because they’re often scared. We are, most of us, stumbling around with only a few candles to guide the way. We can’t always see the whole system, so we need to puzzle it out, bit by bit, in the dark.

\n

And his passage on the decreasing percentages of female coders is pure perfection:

\n

The average programmer is moderately diligent, capable of basic mathematics, has a working knowledge of one or more programming languages, and can communicate what he or she is doing to management and his or her peers. Given that a significant number of women work as journalists and editors, perform surgery, run companies, manage small businesses, and use spreadsheets, that a few even serve on the Supreme Court, and that we are no longer surprised to find women working as accountants, professors, statisticians, or project managers, it’s hard to imagine that they can’t write JavaScript. Programming, despite the hype and the self-serving fantasies of programmers the world over, isn’t the most intellectually demanding task imaginable.

\n

Which leads one to the inescapable conclusion: The problem with women in technology isn’t the women.

\n

PHP and (sorta) WordPress

\n

Of everything discussed in the article, the one thing I really could tell he didn’t appreciate much was PHP.

\n

You can get a site up and running in PHP in a few minutes, and that’s the problem. It used to be the terrible choice you made when you needed to get something done on the Web, but increasingly JavaScript has replaced it as the default terrible choice.

\n

PHP stands for Personal Home Page/Forms Interpreter. The idea was that when you loaded your Web pages, the PHP code would run before the page went out to the Internet. And PHP could, say, check whether you were logged in. If you were, it could show you your top secret account details; and if you weren’t, it could say, “Please log in.”

\n

I know a lot of people who program in PHP, and they are smart, good people. PHP powers Etsy and Facebook. It powers Wikipedia, for God’s sake. WordPress. Out of all the Web’s pages, an enormous percentage is created with PHP.

\n

Coding in PHP for a living is not a death sentence. Lots of people have gotten rich off PHP. It just means a lot of cutting and pasting, and a lot of trips to Google to figure out why things aren’t working.

\n

Poor, sad, misbegotten, incredibly effective, massively successful PHP. Reading PHP code is like reading poetry, the poetry you wrote freshman year of college.

\n

I spent so many hundreds, maybe thousands, of hours programming in PHP, back when I didn’t know what I was doing and neither did PHP. Reloading Web pages until my fingers were sore. (I can hear your sympathetic sobs.) Everything was always broken, and people were always hacking into my sites.

\n

PHP. I don’t wish it any harm. I’m glad to see how well it’s done for itself. We had some good times together. I just don’t ever want to go back there.

\n

He also uses WordPress as the punching bag for the story in the story. The fictional story within the article is of a company that’s replacing their current website with a new website. It’s a big corporate environment and they’re, “at the limits with WordPress.” Of course, Matt Mullenweg took issue with that one aspect on his own blog.

\n

Debugging, testing, and version control

\n

Paul gives some of the best layman’s descriptions for debugging, testing, and version control I’ve ever read. He closes the section with this:

\n

See, tests and version control are now the trigger for actually shipping code. If you can follow a process like this, you can release software several times a day—which in the days of shrink-wrapped software would have been folly. (Often builds were done nightly, by big “build servers,” and one would come in the next morning to get the score.) But now that software can be released via the Web or an app store, why wait? Why not continually release software, every day, whenever you have something that’s ready to go?

\n

Actually picking a language

\n

It’s hard to limit this one and it was one of my favorite parts, so I’m just going to toss it in in bulk.

\n

Beware of arguments related to programming speed. All things being equal, faster is better. But all things are never equal. Do you need the kind of speed that lets you get a website up and running quickly? Or the kind that allows you to rotate a few thousand polygons in 3D in real time? Do you need to convert 10,000 PDFs into text per hour? Or 10 million PDFs into text once? These are different problems. What do we need to do, how many times do we need to do it, and what existing code can we use to help us do it that many times? Ask those questions.

\n

It’s possible to spend productive months preparing for a project without deciding on a language. It may be the sign of a fine manager, someone who assumes his people can learn new things, someone who’s built an agile team capable of experimenting with new technologies and getting ideas into production. It could also be that this person is totally useless. You’ll find out!

\n

Let’s say your programmers are developing a huge website that serves 5 million people who each visit five times a month. Do you use Python, which is slower, or Go, which is fast, or Node.js, which is something in-between? Trick question! Twenty-five million Web page visits isn’t that big a deal, unless they involve some deep wizardry or complex database queries that are very different for each page (good example: Facebook).

\n

Now, that number isn’t trivial; if it takes a minute to make a page, you’d need 48 years to make that many, which is way too slow. If it takes a second to make a page, that’s still too slow—there are only 2.6 million seconds in a month. So you need to figure out how to serve about 10 pages per second. You’ll probably want more than one computer, a little redundancy, some good server setup. It will take some doing and planning. But it can be done in any language.

\n

What if you are going to serve only a few hundred thousand pages a month? Then you’ve got tremendous breathing room. You don’t need too many engineers to create the system architecture. You still need to plan, but in general you can read some blog posts and follow along with what others have done. You can be pretty sloppy, to be honest. Again, any language will do.

\n

What if you want to include a live, person-to-person chat on those pages, and you expect thousands of people to use that chat at once, all speaking to each other? Now you’re dipping your hand into that godforsaken river. But that is exactly the problem that Go was designed to solve. It’s a language for creating highly available servers that use as much of the computer’s processor as possible. It has other features as well, but this is where Go shines. Actually, Node.js works pretty well for that sort of server, too, and Clojure certainly has the capacity. Oh, right, Java works, too. If you really needed to, you could even do it in PHP.

\n

This is why the choice is so hard. Everything can do everything, and people will tell you that you should use everything to do everything. So you need to figure out for yourself what kind of team you have, what kind of frameworks you like using, where people can be most productive, so they will stick around through the completion of the project. This is hard. Most places can’t do this. So they go with the lowest common denominator—Java, PHP—because they know that when people leave, they’ll be able to get more of them.

\n

And that’s OK. The vast majority of technology projects don’t require original research, nor do they require amazing technological discoveries. All the languages under discussion work just fine. There are great coders in all of them.

\n

Should you learn to code?

\n

I’ve only highlighted some of my favorite parts. I will likely re-read this article many times.

\n

You can also check out a GitHub repo for the article, which is super cool. You can also catch a Q&A with Paul Ford, about the article and process, on Gawker. Oh, and his test last year of the Kinja CMS — a debacle that is reminiscent of the Bloomberg article more than a little bit — is hilarious.

\n

In the end, he poses the question: “should you learn to code?” You’ll have to read to the end to find out.

\n

Seriously, thank you Paul Ford for this piece, and Bloomberg for funding it.

\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}s:7:\"pubDate\";a:1:{i:0;a:5:{s:4:\"data\";s:31:\"Fri, 12 Jun 2015 20:46:45 +0000\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}}s:32:\"http://purl.org/dc/elements/1.1/\";a:1:{s:7:\"creator\";a:1:{i:0;a:5:{s:4:\"data\";s:15:\"Brian Krogsgard\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}}}}i:15;a:6:{s:4:\"data\";s:13:\"\n \n \n \n \n \n \n\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";s:5:\"child\";a:2:{s:0:\"\";a:5:{s:5:\"title\";a:1:{i:0;a:5:{s:4:\"data\";s:83:\"WPTavern: WP Featherlight: A New Lightbox Plugin for WordPress Images and Galleries\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}s:4:\"guid\";a:1:{i:0;a:5:{s:4:\"data\";s:28:\"http://wptavern.com/?p=44795\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}s:4:\"link\";a:1:{i:0;a:5:{s:4:\"data\";s:92:\"http://wptavern.com/wp-featherlight-a-new-lightbox-plugin-for-wordpress-images-and-galleries\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}s:11:\"description\";a:1:{i:0;a:5:{s:4:\"data\";s:3942:\"\"photophoto credit: neverland… – (license)\n

WP Site Care recently launched its new WP Featherlight plugin on WordPress.org. While there are already hundreds of lightbox plugins available for WordPress, this one may prove to be the “lightest” of them all.

\n

The plugin is essentially a wrapper for the Featherlight jQuery lightbox script created by Noel Bossart. Featherlight.js was designed to be very lightweight and is just 400 lines of JavaScript, 100 of CSS, and less than 6kB combined. It works on IE8+, all modern browsers, and on mobile platforms. The script is responsive and supports images, ajax, and iframes out of the box.

\n

WP Featherlight solves a number of problems that WordPress users often encounter with lightbox plugins, many of which contain a load of heavy-handed styling that is difficult to override.

\n

“We were having a really hard time finding a lightbox plugin that was simple to customize, but that was also lightweight, flexible, and didn’t add a bunch of bloat to our website,” WP Site Care founder Ryan Sullivan said in his post introducing the plugin.

\n

The WP Site Care team opted to build their own solution on top of Featherlight.js. The resulting plugin provides a fast, minimalist style popup for images and galleries.

\n

\"wp-featherlight-screenshot\"

\n

The plugin includes built-in support for native WordPress galleries and Jetpack galleries. When you install it, there are no options to configure. It will automatically display all images and galleries in a lightbox. If you add some extra data attributes to your content, it’s also possible to display videos, iframes, and ajax content with WP Featherlight.

\n

The demo video below shows how the plugin works with galleries to click from one image to the next while in the lightbox.

\n

\n

One common problem with WordPress lightbox plugins is that they usually load their scripts and styles on every page, whether you need the lightbox there or not. WP Featherlight gives you the option in the post editor to disable the lightbox. It’s a handy option to have in case you don’t want to load a larger version of your images on that particular post/page, but I’m not sure why you wouldn’t just conditionally load the scripts on pages that have images.

\n

I tested WP Featherlight on a demo site and found that it works as advertised. You would be hard pressed to find a leaner lightbox plugin for WordPress. The style is super minimal and the fact that there are no options to configure makes it a pleasure to use. Many thanks to Robert Neu and the folks at WP Site Care for making it freely available on WordPress.org.

\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}s:7:\"pubDate\";a:1:{i:0;a:5:{s:4:\"data\";s:31:\"Fri, 12 Jun 2015 19:36:06 +0000\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}}s:32:\"http://purl.org/dc/elements/1.1/\";a:1:{s:7:\"creator\";a:1:{i:0;a:5:{s:4:\"data\";s:13:\"Sarah Gooding\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}}}}i:16;a:6:{s:4:\"data\";s:13:\"\n \n \n \n \n \n \n\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";s:5:\"child\";a:2:{s:0:\"\";a:5:{s:5:\"title\";a:1:{i:0;a:5:{s:4:\"data\";s:79:\"WPTavern: WordPress Plugin Developers Need to Communicate Better in Change Logs\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}s:4:\"guid\";a:1:{i:0;a:5:{s:4:\"data\";s:28:\"http://wptavern.com/?p=45107\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}s:4:\"link\";a:1:{i:0;a:5:{s:4:\"data\";s:89:\"http://wptavern.com/wordpress-plugin-developers-need-to-communicate-better-in-change-logs\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}s:11:\"description\";a:1:{i:0;a:5:{s:4:\"data\";s:4839:\"\"Communicationphoto credit: elycefeliz – cc\n

One of the habits I developed when I started using WordPress is to always read a plugin’s changelog before updating. The changelog is a communication channel that bridges the gap between me and the developer.

\n

It tells me what’s changed, what to expect, and any other information the developer thinks I should know. The most important information a developer can tell me is that a security vulnerability has been addressed.

\n

Security vulnerabilities in WordPress plugins generally receive a decent amount of media coverage. If I read a story that mentions a plugin I use containing a vulnerability, the first thing I do is visit that plugin’s changelog on the WordPress plugin directory to see if it’s fixed. However, some plugin authors don’t do a very good job of informing users that a security patch has been applied.

\n

WooCommerce and VaultPress

\n

WooCommerce recently released an update to fix an object injection vulnerability. If you look at the changelog for 2.3.11 which has the patch, there is no mention of a security vulnerability being fixed.

\n

2.3.11 – 10/06/2015

\n\n

To the untrained eye, 2.3.11 is just a regular maintenance release. Security fixes should be front and center and command attention.

\n

VaultPress, a security monitoring plugin by Automattic, also fails to provide clear information in its changelog. Determining security patches with VaultPress is confusing because security hotfixes are labeled as though they are patches for the plugin itself. Instead, security hotfixes are patches to protect from known security vulnerabilities.

\n

1.7.5 – 11 Jun 2015

\n\n

1.7.4 – 28 Apr 2015

\n\n

1.7.3 – 27 Apr 2015

\n\n

To add to the confusion, there’s no explanation as to what the hotfixes protect against. You have to read the inline comment on GitHub to know what the latest hotfix does.

\n

// Protect WooCommerce from object injection via PayPal IPN notifications. Affects 2.0.20 -> 2.3.10

\n

If VaultPress developers added the comment from GitHub to the changelog on WordPress.org, it would have made things a lot clearer.

\n

Users Read Change Logs

\n

When we asked readers how often do they read a plugin’s changelog before updating, 705 out of 1,152 voters said they always read it while 338 people said they sometimes read it. Whether they understand the changes or not, users read change logs.

\n

If you’re a plugin developer, please consider adding context and clear explanations to your change logs. Clearly state what is a security patch, bug fix, or tweak. I don’t need to know the fine details, just enough information to make a good decision.

\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}s:7:\"pubDate\";a:1:{i:0;a:5:{s:4:\"data\";s:31:\"Fri, 12 Jun 2015 19:12:35 +0000\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}}s:32:\"http://purl.org/dc/elements/1.1/\";a:1:{s:7:\"creator\";a:1:{i:0;a:5:{s:4:\"data\";s:13:\"Jeff Chandler\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}}}}i:17;a:6:{s:4:\"data\";s:13:\"\n \n \n \n \n \n \n\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";s:5:\"child\";a:2:{s:0:\"\";a:5:{s:5:\"title\";a:1:{i:0;a:5:{s:4:\"data\";s:81:\"WPTavern: HHVM Demonstrated to be 18.7% Faster Than PHP 7 on a WordPress Workload\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}s:4:\"guid\";a:1:{i:0;a:5:{s:4:\"data\";s:28:\"http://wptavern.com/?p=45062\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}s:4:\"link\";a:1:{i:0;a:5:{s:4:\"data\";s:90:\"http://wptavern.com/hhvm-demonstrated-to-be-18-7-faster-than-php-7-on-a-wordpress-workload\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}s:11:\"description\";a:1:{i:0;a:5:{s:4:\"data\";s:4072:\"

\"hhvmhack\"

\n

This week HHVM developers shared the results of their first ever open source performance lockdown. HHVM is Facebook’s open source PHP execution engine, originally created to help make its infrastructure more efficient. WordPress managed hosts, including WP Engine, Pagely, and SiteGround, have added HHVM hosting options within the last year to cater to customers who require better PHP performance.

\n

During the HHVM team’s two week lockdown, developers focused on optimizing builtin functions, dynamic properties, string concatenation, and the file cache. The goal was to maximize requests per second (RPS) with WordPress, Drupal 7, and MediaWiki, using their oss-performance benchmarking tool.

\n

“During lockdown we achieved a 19.4% RPS improvement for MediaWiki workloads, and a 1.8% RPS improvement for WordPress,” Facebook developer Paul Bissonnette reported. “We demonstrated that HHVM is 55.5% faster than PHP 7 on a MediaWiki workload, 18.7% faster on a WordPress workload, and 10.2% faster on a Drupal 7 workload.”

\n

These results were based on configuring each framework with a sample dataset designed to approximate an average installation. In order to create the WordPress workload, the HHVM team used URLs from the hhvm.com access logs to extract data.

\n

The report contains a walkthrough of how the benchmarking tool works to approximate the maximum possible RPS of a server under a high load. Some of the most notable performance differences were summarized in the results of the engine comparison chart, which demonstrates the difference between PHP 5, PHP 7, and HHVM.

\n

\"engine-comparison\"

\n

During the lockdown, the team also experimented with introducing asynchronous query execution to WordPress, the results of which the team plans to write about in the near future.

\n

As an exercise, we evaluated the benefits of async MySQL in the WordPress environment. By modifying portions of WordPress to take advantage of the async capabilities offered by Hack and HHVM, we were able to examine the potential for performance gains through async execution. In our test environment we separated the MySQL and PHP hosting to separate machines within the same datacenter to approximate a realistic WordPress stack. The introduction of asynchronous query execution can demonstrate performance gains in both RPS and response time.

\n

It will be interesting to see a more detailed report of the benefits they found from introducing async capabilities to WordPress. Overall, the lockdown provided an opportunity for collaboration across open source projects, resulting in a host of optimizations that will help OS frameworks perform better with HHVM in the future. The HHVM team plans to ship these improvements with the next release.

\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}s:7:\"pubDate\";a:1:{i:0;a:5:{s:4:\"data\";s:31:\"Fri, 12 Jun 2015 17:47:23 +0000\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}}s:32:\"http://purl.org/dc/elements/1.1/\";a:1:{s:7:\"creator\";a:1:{i:0;a:5:{s:4:\"data\";s:13:\"Sarah Gooding\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}}}}i:18;a:6:{s:4:\"data\";s:13:\"\n \n \n \n \n \n \n\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";s:5:\"child\";a:2:{s:0:\"\";a:5:{s:5:\"title\";a:1:{i:0;a:5:{s:4:\"data\";s:42:\"Matt: Paul Ford: What is Code? | Bloomberg\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}s:4:\"guid\";a:1:{i:0;a:5:{s:4:\"data\";s:21:\"http://ma.tt/?p=45145\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}s:4:\"link\";a:1:{i:0;a:5:{s:4:\"data\";s:54:\"http://ma.tt/2015/06/paul-ford-what-is-code-bloomberg/\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}s:11:\"description\";a:1:{i:0;a:5:{s:4:\"data\";s:376:\"

We are here because the editor of this magazine asked me, “Can you tell me what code is?”

\n

Paul Ford’s amazing What is Code? for Bloomberg. I only spotted one mistake, of course from the Taupe Blazer guy: you’re never at the limits of WordPress.

\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}s:7:\"pubDate\";a:1:{i:0;a:5:{s:4:\"data\";s:31:\"Fri, 12 Jun 2015 00:29:57 +0000\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}}s:32:\"http://purl.org/dc/elements/1.1/\";a:1:{s:7:\"creator\";a:1:{i:0;a:5:{s:4:\"data\";s:4:\"Matt\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}}}}i:19;a:6:{s:4:\"data\";s:13:\"\n \n \n \n \n \n \n\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";s:5:\"child\";a:2:{s:0:\"\";a:5:{s:5:\"title\";a:1:{i:0;a:5:{s:4:\"data\";s:70:\"WPTavern: StackExchange is Testing a Proposed Q&A Site for WooCommerce\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}s:4:\"guid\";a:1:{i:0;a:5:{s:4:\"data\";s:28:\"http://wptavern.com/?p=44683\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}s:4:\"link\";a:1:{i:0;a:5:{s:4:\"data\";s:79:\"http://wptavern.com/stackexchange-is-testing-a-proposed-qa-site-for-woocommerce\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}s:11:\"description\";a:1:{i:0;a:5:{s:4:\"data\";s:4111:\"

\"woocommerce-qa-staging-site\"

\n

StackExchange community members have proposed a new Q&A site for users and developers of WooCommerce. The proposal is currently in the “Definition” phase, which means that participants are working to design the community by proposing hypothetical questions that embody the topic’s scope.

\n

So far for WooCommerce, popular hypothetical questions include:

\n\n

In order to move on to the next milestone, the site must have at least 40 questions that have a score of at least ten net votes (up minus down). The WooCommerce staging site needs the following:

\n\n

The StackExchange for general WordPress Development is thriving with 17 million page views and 14K new questions in 2014. However, questions regarding third party plugins are considered off-topic and will be closed by moderators, hence the need for a separate WooCommerce Q&A site.

\n

Alex Miller, one of the supporters of the WooCommerce StackExchange proposal, believes that the WooCommerce community needs a place where developers can quickly get answers to questions.

\n

“The WooCommerce Community Forums seemed like a decent place but was shut down months ago for unknown reasons,” he said. “My experience with the Woo Community Forums is that it was too broad and the upvote downvote system was poorly handled – good questions got buried too quickly with the large influx of new questions.”

\n

In contrast, the StackExchange model pushes questions that have activity (edits, comments, answers) to the top of the frontpage and lower quality questions (downvoted, flagged) receive less attention.

\n

“Having a WooCommerce StackExchange site is also a great place for people with a great understanding of WooCommerce to document their knowledge for search engines to easily find,” Miller said. You can see an example of this by sorting the WPSE questions by votes and reading the first few questions and answers.

\n

“I can only hope that with Automattic’s acquisition of WooCommerce, the forums will be reopened (WooCommunity forums have been shutdown for a few months now),” Miller said. “But either way I don’t think there is a much better platform than what the StackExchange offers.”

\n

As StackExchange Q&A sites are entirely community driven, WooCommerce community members who are interested in seeing it succeed are encouraged to log into StackExchange and create/upvote quality questions that represent the community’s interests.

\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}s:7:\"pubDate\";a:1:{i:0;a:5:{s:4:\"data\";s:31:\"Thu, 11 Jun 2015 21:23:07 +0000\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}}s:32:\"http://purl.org/dc/elements/1.1/\";a:1:{s:7:\"creator\";a:1:{i:0;a:5:{s:4:\"data\";s:13:\"Sarah Gooding\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}}}}i:20;a:6:{s:4:\"data\";s:13:\"\n \n \n \n \n \n \n\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";s:5:\"child\";a:2:{s:0:\"\";a:5:{s:5:\"title\";a:1:{i:0;a:5:{s:4:\"data\";s:86:\"WPTavern: Customizer Typography: A Proof-of-Concept Plugin for WordPress Theme Authors\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}s:4:\"guid\";a:1:{i:0;a:5:{s:4:\"data\";s:28:\"http://wptavern.com/?p=45017\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}s:4:\"link\";a:1:{i:0;a:5:{s:4:\"data\";s:95:\"http://wptavern.com/customizer-typography-a-proof-of-concept-plugin-for-wordpress-theme-authors\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}s:11:\"description\";a:1:{i:0;a:5:{s:4:\"data\";s:3644:\"

One option that users often appreciate in themes is the ability to control typography without having to modify any code. Justin Tadlock has been experimenting with adding a typography control class for the WordPress customizer.

\n

Instead of writing a lengthy tutorial, he opted to create a a proof-of-concept plugin that demonstrates how theme authors might accomplish this. Customizer Typography is currently being developed on GitHub and Tadlock said it is “only meant for development purposes and to show one method of executing the idea.”

\n

\"customize-typography-screen\"

\n

The plugin was created to provide testing for two things:

\n\n

“The most important was not having to add tons of code while still providing the developer complete control over each setting,” Tadlock said. “Fortunately, the Customization API in WordPress is pretty powerful and allows you to tie multiple settings to a single control.”

\n

The plugin currently provides controls for live previewing both paragraph and headings with various font family, font weight, font style, font size, and line height options. Integrating Google Fonts is on Tadlock’s to-do list, but at the moment he’s not working to build out the plugin as the ultimate solution.

\n

“Just to be clear, this is a proof of concept that I put together in an afternoon, not a polished solution,” he said. “The idea, for me at least, would be to eventually extract it and put it into themes.”

\n

I installed the plugin to play around with Twenty Fifteen and found that the experience of live previewing typography changes is very satisfying from a user standpoint. Although many custom theme options panels include basic typography controls, you often have to refresh the page to see how your changes applied. This kind of control is a prime candidate for integrating into the customizer.

\n

Tadlock’s example typography control class gives you a glimpse of what’s possible for theme authors who elect to build their options using the customizer. It’s these kinds of controls that truly solve a frustration and make it easier to personalize themes. The Customizer Typography plugin exemplifies the purpose of the customizer.

\n

You can check out the plugin on GitHub and install it to see the live previews in action. If you’re interested to learn more about building with the Customizer API, Tadlock published a post on the Make.WordPress.org/Themes blog that contains a long list of customizer tutorials and documentation.

\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}s:7:\"pubDate\";a:1:{i:0;a:5:{s:4:\"data\";s:31:\"Thu, 11 Jun 2015 18:00:23 +0000\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}}s:32:\"http://purl.org/dc/elements/1.1/\";a:1:{s:7:\"creator\";a:1:{i:0;a:5:{s:4:\"data\";s:13:\"Sarah Gooding\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}}}}i:21;a:6:{s:4:\"data\";s:13:\"\n \n \n \n \n \n \n\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";s:5:\"child\";a:2:{s:0:\"\";a:5:{s:5:\"title\";a:1:{i:0;a:5:{s:4:\"data\";s:67:\"WPTavern: WooCommerce 2.3.11 Patches Object Injection Vulnerability\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}s:4:\"guid\";a:1:{i:0;a:5:{s:4:\"data\";s:28:\"http://wptavern.com/?p=45099\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}s:4:\"link\";a:1:{i:0;a:5:{s:4:\"data\";s:77:\"http://wptavern.com/woocommerce-2-3-11-patches-object-injection-vulnerability\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}s:11:\"description\";a:1:{i:0;a:5:{s:4:\"data\";s:884:\"

WooCommerce 2.3.11 patches an object injection vulnerability discovered by Sucuri. According to the security research company, the vulnerability is only present when the PayPal Identity Token option is set in WooCommerce.

\n

Researchers used a combination of WordPress and WooCommerce components with a known PHP bug and were able to download critical files, including wp-config.php which has sensitive information. Versions 2.0.20 – 2.3.10 are considered vulnerable.

\n

In addition to the patch, the release also has a number of bug fixes. If you haven’t already, update as soon as possible.

\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}s:7:\"pubDate\";a:1:{i:0;a:5:{s:4:\"data\";s:31:\"Thu, 11 Jun 2015 17:14:41 +0000\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}}s:32:\"http://purl.org/dc/elements/1.1/\";a:1:{s:7:\"creator\";a:1:{i:0;a:5:{s:4:\"data\";s:13:\"Jeff Chandler\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}}}}i:22;a:6:{s:4:\"data\";s:13:\"\n \n \n \n \n \n \n\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";s:5:\"child\";a:2:{s:0:\"\";a:5:{s:5:\"title\";a:1:{i:0;a:5:{s:4:\"data\";s:71:\"WPTavern: WPWeekly Episode 195 – Recap of WordCamp Orange County 2015\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}s:4:\"guid\";a:1:{i:0;a:5:{s:4:\"data\";s:44:\"http://wptavern.com?p=45094&preview_id=45094\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}s:4:\"link\";a:1:{i:0;a:5:{s:4:\"data\";s:77:\"http://wptavern.com/wpweekly-episode-195-recap-of-wordcamp-orange-county-2015\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}s:11:\"description\";a:1:{i:0;a:5:{s:4:\"data\";s:2775:\"

In this episode, Marcus Couch and I recap WordCamp Orange County 2015 held in Costa Mesa, CA. We share our favorite sessions, highlights of the weekend, and I explain why I spent day two of the conference in my hotel room. During the second half of the show, we cover the news of the week, including the controversy surrounding the menu customizer plugin.

\n

Stories Discussed:

\n

WordCamp US 2015 Now Accepting Applications for Host City
\nClarification on WordCamp US Applications
\nWordPress Core Contributors Call for User Testing on the Menu Customizer Plugin
\nWordPress Mobile 5.2 Update Drops with added media capabilities
\nWooThemes Fixes XSS Vulnerability in Products Using the prettyPhoto Library
\nWooCommerce 2.3.11 Security and Maintenance Release

\n

Plugins Picked By Marcus:

\n

Daily Logo is a simple and flexible plugin which allow users to display a different header or logo on their site every day.

\n

Scheduled Stickiness sets and unsets the sticky flag on specified dates for a certain post based on meta fields.

\n

LearnPress is a comprehensive learning management system plugin for WordPress. It can be used to easily create and sell courses online.

\n

WPWeekly Meta:

\n

Next Episode: Wednesday, June 24th 9:30 P.M. Eastern

\n

Subscribe To WPWeekly Via Itunes: Click here to subscribe

\n

Subscribe To WPWeekly Via RSS: Click here to subscribe

\n

Subscribe To WPWeekly Via Stitcher Radio: Click here to subscribe

\n

Listen To Episode #195:
\n

\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}s:7:\"pubDate\";a:1:{i:0;a:5:{s:4:\"data\";s:31:\"Thu, 11 Jun 2015 15:56:46 +0000\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}}s:32:\"http://purl.org/dc/elements/1.1/\";a:1:{s:7:\"creator\";a:1:{i:0;a:5:{s:4:\"data\";s:13:\"Jeff Chandler\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}}}}i:23;a:6:{s:4:\"data\";s:13:\"\n \n \n \n \n \n \n\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";s:5:\"child\";a:2:{s:0:\"\";a:5:{s:5:\"title\";a:1:{i:0;a:5:{s:4:\"data\";s:85:\"WPTavern: WooThemes Fixes XSS Vulnerability in Products Using the prettyPhoto Library\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}s:4:\"guid\";a:1:{i:0;a:5:{s:4:\"data\";s:28:\"http://wptavern.com/?p=45080\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}s:4:\"link\";a:1:{i:0;a:5:{s:4:\"data\";s:95:\"http://wptavern.com/woothemes-fixes-xss-vulnerability-in-products-using-the-prettyphoto-library\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}s:11:\"description\";a:1:{i:0;a:5:{s:4:\"data\";s:2531:\"

\"WooThemesFeaturedImage2\"Jeff Ikus of WooThemes, announced on the company’s themes development blog, that it has pushed out updates to all of its products that use the prettyPhoto library. The update fixes a DOM based cross-site scripting vulnerability discovered in 2014.

\n

prettyPhoto is a jQuery lightbox clone used in a potentially large number of WordPress products. If you use a WordPress plugin or theme that relies on prettyPhoto, please get in touch with the author to make sure they’re aware of this security vulnerability. If you use the prettyPhoto WordPress plugin, make sure it’s running version 1.2 as it contains the patched library.

\n

Risky Business

\n

In 2011, TimThumb made headlines when a major security vulnerability was discovered and used to hack into several websites. At the time, Ben Gillbanks, the library’s maintainer, estimated 95% of all commercial WordPress themes supported TimThumb.

\n

At the end of 2014, a security vulnerability was discovered in the Slider Revolution plugin that allowed more than 100k websites to be compromised.

\n

Using third-party scripts and libraries is not a bad thing. The practice however, comes with a set of risks. It’s up to developers to be vigilant and accept the responsibilities that come with relying on a third-party. It’s also imperative that developers do everything they can to update their products and users when a security vulnerability is discovered.

\n

If you’re a developer, let us know the criteria in determining which third-party scripts, libraries, and tools you use.

\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}s:7:\"pubDate\";a:1:{i:0;a:5:{s:4:\"data\";s:31:\"Wed, 10 Jun 2015 20:31:11 +0000\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}}s:32:\"http://purl.org/dc/elements/1.1/\";a:1:{s:7:\"creator\";a:1:{i:0;a:5:{s:4:\"data\";s:13:\"Jeff Chandler\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}}}}i:24;a:6:{s:4:\"data\";s:13:\"\n \n \n \n \n \n \n\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";s:5:\"child\";a:2:{s:0:\"\";a:5:{s:5:\"title\";a:1:{i:0;a:5:{s:4:\"data\";s:70:\"Post Status: Quick tip: Disconnect Jetpack from the WordPress.com side\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}s:4:\"guid\";a:1:{i:0;a:5:{s:4:\"data\";s:31:\"https://poststatus.com/?p=12963\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}s:4:\"link\";a:1:{i:0;a:5:{s:4:\"data\";s:80:\"https://poststatus.com/quick-tip-disconnect-jetpack-from-the-wordpress-com-side/\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}s:11:\"description\";a:1:{i:0;a:5:{s:4:\"data\";s:2528:\"

About sixteen months ago, I wrote a post noting that it is really annoying to disconnect a WordPress.com account from a Jetpack install. More annoying yet, is that you could not get rid of nonexistent Jetpack enabled websites from the WordPress.com “My Sites” section at all without contacting support.

\n

Over the years I collected quite a few Jetpack enabled websites connected to my WordPress.com username. Whether I was connecting a staging site or was too lazy to get a friend to setup their own account on WordPress.com, I ended up with a couple of dozen websites connected to my account that were not in my control.

\n

The traditional way to disconnect Jetpack from WordPress.com was via the site admin in the Jetpack settings. But over time, many of the sites I managed have went stagnant or completely offline, and there was no way to disconnect them anymore. But finally, you can disconnect Jetpack from the WordPress.com side.

\n

You can disconnect sites from the main “My Site” link (shown above) or the individual site (pictured below). Errored sites show up with a red warning side, and when you click the icon, the ability to permanently disconnect the site appears.

\n

\"wp-com-disconnect-solo\"

\n

This has been a near daily annoyance of mine for years. I’m happy to see it finally get resolution. Special thanks to Automattician Jeremy Herve for never forgetting about me.

\n

One more tip: if you go to your WordPress.com homepage often, and it doesn’t open up the page you want to be default for stats, you can set your default site under your account settings. This is another annoyance of mine that I didn’t know had a solution until just now.

\n

\"wp-com-account\"

\n

I know creating really effective user interfaces and account management tools is really hard. But attention to small details is awesome. I’m glad the WordPress.com team took care of this one, even if it took a while.

\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}s:7:\"pubDate\";a:1:{i:0;a:5:{s:4:\"data\";s:31:\"Wed, 10 Jun 2015 18:18:00 +0000\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}}s:32:\"http://purl.org/dc/elements/1.1/\";a:1:{s:7:\"creator\";a:1:{i:0;a:5:{s:4:\"data\";s:15:\"Brian Krogsgard\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}}}}i:25;a:6:{s:4:\"data\";s:13:\"\n \n \n \n \n \n \n\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";s:5:\"child\";a:2:{s:0:\"\";a:5:{s:5:\"title\";a:1:{i:0;a:5:{s:4:\"data\";s:25:\"Matt: Peter Thiel on MBAs\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}s:4:\"guid\";a:1:{i:0;a:5:{s:4:\"data\";s:21:\"http://ma.tt/?p=45140\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}s:4:\"link\";a:1:{i:0;a:5:{s:4:\"data\";s:41:\"http://ma.tt/2015/06/peter-thiel-on-mbas/\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}s:11:\"description\";a:1:{i:0;a:5:{s:4:\"data\";s:877:\"

I think one challenge a lot of the business schools have is they end up attracting students who are very extroverted and have very low conviction, and they put them in this hot house environment for a few years — at the end of which, a large number of people go into whatever was the last trendy thing to do. They’ve done studies at Harvard Business School where they’ve found that the largest cohort always went into the wrong field. So in 1989, they all went to work for Michael Milken, a year or two before he went to jail. They were never interested in Silicon Valley except for 1999, 2000. The last decade their interest was housing and private equity.

\n

This entire interview with Peter Thiel is pretty interesting.

\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}s:7:\"pubDate\";a:1:{i:0;a:5:{s:4:\"data\";s:31:\"Wed, 10 Jun 2015 17:18:09 +0000\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}}s:32:\"http://purl.org/dc/elements/1.1/\";a:1:{s:7:\"creator\";a:1:{i:0;a:5:{s:4:\"data\";s:4:\"Matt\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}}}}i:26;a:6:{s:4:\"data\";s:13:\"\n \n \n \n \n \n \n\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";s:5:\"child\";a:2:{s:0:\"\";a:5:{s:5:\"title\";a:1:{i:0;a:5:{s:4:\"data\";s:89:\"WPTavern: WordPress Core Contributors Call for User Testing on the Menu Customizer Plugin\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}s:4:\"guid\";a:1:{i:0;a:5:{s:4:\"data\";s:28:\"http://wptavern.com/?p=45034\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}s:4:\"link\";a:1:{i:0;a:5:{s:4:\"data\";s:99:\"http://wptavern.com/wordpress-core-contributors-call-for-user-testing-on-the-menu-customizer-plugin\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}s:11:\"description\";a:1:{i:0;a:5:{s:4:\"data\";s:7228:\"

\"menu-customizer-feature\"

\n

Ryan Boren published a post to the Make/WordPress Core blog this afternoon, titled Trust, Live Preview, and Menus in the Customizer. In it he clarified the reasons why he and several other core contributors are committed to iterating the customizer and identified the feature as a means of building user trust through live previews.

\n

Being able to make non-destructive changes and preview them is an important component of building that trust. This is perhaps most noticeable in the “save and surprise” approach of the widgets admin screen – every time you add a new widget, modify its settings, or move one around, the changes are saved and appear live on your site, even if you’re not ready yet. The customizer is our framework for live previewing changes. We are committed to providing live preview for all aspects of site customization and making it usable on all devices from phones to large screens.

\n

Boren briefly summarized the history of the customizer and alluded to a few possibilities the framework may offer in the future:

\n

The customizer has come a long way, but it still lacks some features and needs time to mature. We have many improvements planned and in progress, including transactions, partial refresh, theme installation, speedier loading, scaling to large screens, and possibly even integration with front end editing. Our live preview framework offers many possibilities.

\n

The Menu Customizer plugin was tentatively approved for merge during last week’s core development meeting. In order for the it to be officially approved for merge on June 17th, the plugin will need to meet the feature plugin criteria outlined in the core handbook.

\n

“We have eight days to get the Menu Customizer plugin ready for merge,” Boren said. During this time the flow team will be testing and documenting the flow and visuals for the menu customizer.

\n

Boren invited anyone who wants to contribute to this effort to create flow comparisons of the existing flow through Appearance > Menus versus flow through the customizer. This essentially involves walking through the experience of setting up menus, taking screenshots of the flow, and publishing them as a captioned gallery.

\n

“Please help us capture the flows through Appearance > Menus used by you and your clients,” he said. “We need this information to ensure our new interfaces are mindful and aware of how WordPress is actually used.”

\n

Anyone can contribute to WordPress in this way, as it doesn’t require any coding. The core team is looking for people to capture real user scenarios to help in making the final decision.

\n

There is No Timeline for Removing the Appearance > Menus Screen

\n

In the original merge proposal for the Menu Customizer the plugin’s author, Nick Halsey, outlined what he called a “fairly aggressive” plan for the removal of the old menus admin screen. As contributor resources are scarce when it comes to the Menus component, Halsey favored focusing all new development on the UI in the customizer.

\n

The timeline he outlined was for WordPress 4.3 to point the Menus link in the admin bar to Menus in the customizer and later releases (WordPress 4.5 or 4.6) would remove all core links to the Menus admin screen.

\n

WordPress users reacted strongly to this aggressive timeline for removing the old menus screen, but the timeline was merely a suggestion as part of the proposal. Halsey was not keen on merging the plugin without a definitive timeline for removing the old menus, a factor which he considered a “dealbreaker” for merge.

\n

However, WordPress 4.3 release lead Konstantin Obenland confirmed that no official timeline has been set.

\n

@pollyplummer There is no timeline either way.

\n

— Konstantin Obenland (@obenland) June 9, 2015

\n

\n

Ryan Boren also confirmed that WordPress will continue to maintain the Appearance > Menus screen should the plugin be officially approved for merge in the coming days:

\n

Meanwhile, the Appearance screens will remain and will be maintained. Appearance > Menus recently received some attention in the form of a few fixes. More attention is needed and will be given. There are still differences in the flows each approach best enables, whether it’s new site/theme setup, small maintenance tasks, or dedicated content managers for heavy usage of widgets, menus, or other pieces of content that benefit from having a preview mechanism. We should gather quantifiable metrics when it comes to performance and time to completion for a given flow, as well as evaluating the less-objectively-quantifiable perceived performance. There may come a time where the worlds converge; however, that time is not now.

\n

This confirmation should assuage those whose opposition to the Menu Customizer was solely based on the aggressive timeline proposed for removing the old menus screen.

\n

The great divide on the Menu Customizer revolves around one aspect of improvement that Boren mentioned in his paragraph about the future of the customizer: scaling to large screens. The vast majority of WordPress users and developers who are following this debate are those who would be more likely to configure a menu in a desktop environment and not via mobile (where the customizer is currently designed to shine).

\n

Many who oppose the merge of the plugin have identified the cramped UI as the primary reason that it does not provide a better experience for users. You would be hard pressed to find anyone who is opposed to live previews or better usability on mobile devices.

\n

Those who manage WordPress sites via desktop are not willing to sacrifice the old menus screen for a new UI that currently caters primarily to smaller devices. Until the Menu Customizer can adequately provide a UI that fully adapts to all screen sizes, resistance to the feature is likely to continue.

\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}s:7:\"pubDate\";a:1:{i:0;a:5:{s:4:\"data\";s:31:\"Tue, 09 Jun 2015 22:34:19 +0000\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}}s:32:\"http://purl.org/dc/elements/1.1/\";a:1:{s:7:\"creator\";a:1:{i:0;a:5:{s:4:\"data\";s:13:\"Sarah Gooding\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}}}}i:27;a:6:{s:4:\"data\";s:13:\"\n \n \n \n \n \n \n\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";s:5:\"child\";a:2:{s:0:\"\";a:5:{s:5:\"title\";a:1:{i:0;a:5:{s:4:\"data\";s:23:\"Matt: Trust but Preview\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}s:4:\"guid\";a:1:{i:0;a:5:{s:4:\"data\";s:21:\"http://ma.tt/?p=45138\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}s:4:\"link\";a:1:{i:0;a:5:{s:4:\"data\";s:39:\"http://ma.tt/2015/06/trust-but-preview/\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}s:11:\"description\";a:1:{i:0;a:5:{s:4:\"data\";s:273:\"

If you’re following along with the customizer and menu work for the next version of WordPress, check out Trust, Live Preview, and Menus in the Customizer.

\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}s:7:\"pubDate\";a:1:{i:0;a:5:{s:4:\"data\";s:31:\"Tue, 09 Jun 2015 20:00:12 +0000\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}}s:32:\"http://purl.org/dc/elements/1.1/\";a:1:{s:7:\"creator\";a:1:{i:0;a:5:{s:4:\"data\";s:4:\"Matt\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}}}}i:28;a:6:{s:4:\"data\";s:13:\"\n \n \n \n \n \n \n\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";s:5:\"child\";a:2:{s:0:\"\";a:5:{s:5:\"title\";a:1:{i:0;a:5:{s:4:\"data\";s:41:\"WPTavern: Introducing the WP Tavern Wapuu\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}s:4:\"guid\";a:1:{i:0;a:5:{s:4:\"data\";s:28:\"http://wptavern.com/?p=44960\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}s:4:\"link\";a:1:{i:0;a:5:{s:4:\"data\";s:51:\"http://wptavern.com/introducing-the-wp-tavern-wapuu\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}s:11:\"description\";a:1:{i:0;a:5:{s:4:\"data\";s:6761:\"

The Wapuu craze has spread far and wide. From its origin in Japan, to WordCamp London, and across the US, Wapuu has become quite the traveler. While the mascot has mostly represented WordCamps, site owners are creating a custom version of the mascot to represent their sites.

\n

Michelle Schulp, a graphic designer who runs Marktimemedia, has created a number of Wapuu’s for WordCamps and websites. She was gracious enough to create one specifically for the Tavern.

\n\"WPWP Tavern Wapuu\n

Schulp created the mascot with Adobe Illustrator using the original .svg files provided on the original Wapuu Github repository. She doesn’t plan on writing tutorials to modify the base Wapuu. Instead, she is creating a base Wapuu that will have separated pieces so its easier to modify.

\n

She often sketches and re-draws Wapuus that are not in their normal position.

\n

“Actually, most of the Wapuus are slightly modified to make it easier for them to hold or interact with their elements. I thought of him like a cartoon character (fluid) more so than a logo or icon (rigid),” Schulp told the Tavern.

\n

Schulp has always had an interest in sketching cartoons. For WordCamp Miami 2015, she created a variety of custom-made My Little Pony stickers.

\n\"MyMy Little Pony Stickers\n

She also uses her skills to create unique slide decks filled with colorful illustrations.

\n\"CustomCustom Slide Deck\n

From WordCamps to Websites and Eventually Companies

\n

Wapuu is considered the official mascot character of WordPress and was designed by Kazuko Kaneuchi in 2011. It’s distributed under the GPLv2 or later and can be modified by anyone. The character is used to represent different cultures and regions of the world.

\n

Now that Wapuu is showing up as a mascot for sites that focus on WordPress, the question is, when will it be used to represent companies in the WordPress ecosystem?

\n

Shortly after Automattic acquired WooThemes, Nick Hamze was criticized on the Advanced WordPress Facebook group for creating a Wapuu dressed up like a ninja.

\n

If the graphic was created by WooThemes and independently of the acquisition I’d think oh cute, WooTheme’s mascot is teaching WordPress’ mascot how to be a ninja, best friends forever for sure.

\n

Instead, it came from an Automattician and in the context of Automattic acquiring WooThemes, to me it reads that Automattic is using Wapuu, which just bugs me.

\n

At WordCamp Miami 2015, Rocketgenius came under fire for creating swag that features Wapuu wearing a space suit with a rocket patch on its arm.

\n

@carlhancock Wapuu is for promoting WordPress. It promotes a open source project and not a company.

\n

— Marko Heijnen (@markoheijnen) May 31, 2015

\n

\n

This is what the swag looks like. The logo is subtle in nature and if you didn’t already know it represents Rocketgenius, it would fit naturally into the design.

\n\"SpaceSpace Wapuu With Rocket Patch\n

It’s important to note that there are no rules in how Wapuu can be used. The only guideline is maintaining Kaneuchi’s copyright. The mascot has appeared on physical products such as nails, cakes, and stuffed animals.

\n\"photophoto credit:
Naoko Takano – Learnings from Growing Local WordPress Communities\n

Schulp says she plans to create more Wapuus when the inspiration strikes. “I like to imagine Wapuu in a ton of different circumstances and my plan is to create more slice of life Wapuus as the inspiration strikes, maybe similar to how you can express things with Facebook stickers.”

\n

“Though Wapuu is open source and we can all use him and I’ve got good intentions, he isn’t mine so I’ll always defer to and respect the community that created it.”

\n

Community Protection

\n

The use of Wapuu is open for interpretation but I don’t see a problem with companies participating in the craze and creating one of their own. Unlike the WordPress logo, which is trademarked, Wapuu is free of such restrictions meaning anyone can use it for anything, including commercial endeavors.

\n

The community needs to protect Wapuu from enterprises that want to claim it as their own. We must respect its origins and give credit where credit is due. Other than that, the more Wapuus the better!

\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}s:7:\"pubDate\";a:1:{i:0;a:5:{s:4:\"data\";s:31:\"Tue, 09 Jun 2015 18:31:03 +0000\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}}s:32:\"http://purl.org/dc/elements/1.1/\";a:1:{s:7:\"creator\";a:1:{i:0;a:5:{s:4:\"data\";s:13:\"Jeff Chandler\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}}}}i:29;a:6:{s:4:\"data\";s:13:\"\n \n \n \n \n \n \n\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";s:5:\"child\";a:2:{s:0:\"\";a:5:{s:5:\"title\";a:1:{i:0;a:5:{s:4:\"data\";s:111:\"WPTavern: Prescription for a Stalled WordPress Agency: Mario Peshev’s Advice for Growing Development Services\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}s:4:\"guid\";a:1:{i:0;a:5:{s:4:\"data\";s:28:\"http://wptavern.com/?p=44596\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}s:4:\"link\";a:1:{i:0;a:5:{s:4:\"data\";s:117:\"http://wptavern.com/prescription-for-a-stalled-wordpress-agency-mario-peshevs-advice-for-growing-development-services\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}s:11:\"description\";a:1:{i:0;a:5:{s:4:\"data\";s:2629:\"\"photophoto credit: Alejandro Escamilla\n

WordPress agencies provide a critical connection point between users and the software by building custom solutions and guiding some of the more complex implementations. Yet client work is challenging, and many developers who work in it are concurrently planning their escape into product businesses.

\n

Growing an agency reliably is one of the more difficult business endeavors one can embark upon in the WordPress ecosystem. That’s why many attempts linger at one or two person shops, and very few grow to become the powerhouse agencies that can accommodate enterprise level clients.

\n

Mario Peshev, an agency owner specializing in SaaS solutions, wrote an excellent piece on Outsourcing and Hiring Remote Talent. As strategic hiring is the lifeblood of any agency, it’s a skill that owners are eager to refine.

\n

“Small businesses are not easy to run,” he said. “Growing from a one man show to two people is really hard.” Peshev’s article includes a wealth of advice from the trenches on topics that every WordPress agency owner has struggled with, especially in the beginning. He covers the following topics in depth:

\n\n

Peshev blogs regularly on WordPress development and business topics, and this post is a must read for any business owner who is struggling to grow a stalled agency. There’s no simple recipe for success when you’re in the business of helping clients harness the power of WordPress. Peshev’s post doesn’t offer a single magic formula for growing your agency but instead outlines various strategies and scenarios where they might be beneficial.

\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}s:7:\"pubDate\";a:1:{i:0;a:5:{s:4:\"data\";s:31:\"Tue, 09 Jun 2015 15:06:40 +0000\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}}s:32:\"http://purl.org/dc/elements/1.1/\";a:1:{s:7:\"creator\";a:1:{i:0;a:5:{s:4:\"data\";s:13:\"Sarah Gooding\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}}}}i:30;a:6:{s:4:\"data\";s:13:\"\n \n \n \n \n \n \n\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";s:5:\"child\";a:2:{s:0:\"\";a:5:{s:5:\"title\";a:1:{i:0;a:5:{s:4:\"data\";s:24:\"Matt: Online Privacy Lie\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}s:4:\"guid\";a:1:{i:0;a:5:{s:4:\"data\";s:21:\"http://ma.tt/?p=45136\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}s:4:\"link\";a:1:{i:0;a:5:{s:4:\"data\";s:40:\"http://ma.tt/2015/06/online-privacy-lie/\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}s:11:\"description\";a:1:{i:0;a:5:{s:4:\"data\";s:469:\"

Techcrunch has a really great essay by Natasha Lomas that I think got missed, The Online Privacy Lie Is Unraveling.

\n

Americans believe it is futile to manage what companies can learn about them. Our study reveals that more than half do not want to lose control over their information but also believe this loss of control has already happened.

\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}s:7:\"pubDate\";a:1:{i:0;a:5:{s:4:\"data\";s:31:\"Tue, 09 Jun 2015 04:57:56 +0000\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}}s:32:\"http://purl.org/dc/elements/1.1/\";a:1:{s:7:\"creator\";a:1:{i:0;a:5:{s:4:\"data\";s:4:\"Matt\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}}}}i:31;a:6:{s:4:\"data\";s:13:\"\n \n \n \n \n \n \n\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";s:5:\"child\";a:2:{s:0:\"\";a:5:{s:5:\"title\";a:1:{i:0;a:5:{s:4:\"data\";s:57:\"WPTavern: Brighton, UK to Host Europe’s First BuddyCamp\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}s:4:\"guid\";a:1:{i:0;a:5:{s:4:\"data\";s:28:\"http://wptavern.com/?p=44932\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}s:4:\"link\";a:1:{i:0;a:5:{s:4:\"data\";s:63:\"http://wptavern.com/brighton-uk-to-host-europes-first-buddycamp\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}s:11:\"description\";a:1:{i:0;a:5:{s:4:\"data\";s:3385:\"

\"buddycamp-brighton\"

\n

BuddyPress fans, mark your calendars! BuddyCamp Brighton, Europe’s very first BuddyPress conference, is just two months away. The event will be held at Clearleft’s 68 Middle Street venue on August 8, 2015. This venue has a maximum capacity of 60 people, so tickets are likely to sell out fast.

\n

BuddyPress lead developer Paul Gibbs and contributor Tammie Lister are teaming up to organize the event and put out the call for speakers and sponsors today.

\n

“The really exciting thing is that this is going to be the first BuddyCamp outside North America/Canada – the first in Europe,” Gibbs said. “From my role in the BuddyPress project, I know we have many fans across the continent, and it’s those people we want to come to BuddyCamp, so we’re going to focus on making the event as accessible as possible for all those visitors.”

\n

Brighton has a thriving local WordPress community and BuddyPress interest runs deep throughout the UK, making it a strategic location for hosting Europe’s first BuddyCamp.

\n

“Brighton itself has a great tech community, as does London obviously (which is just over an hour away on train), so there’s a lot of potential,” Gibbs said.

\n

Organizers are hoping to receive a wide range of presentation subjects from potential speakers, including both beginner and technical topics.

\n

“We’re pretty keen on beginners content, mixed with a range of showcases and great examples of the potential of BuddyPress,” he said.

\n

Gibbs confirmed that peripheral bbPress topics are also welcome among speaker submissions, even though the event will focus primarily on BuddyPress.

\n

“I think there’s a lot of overlap, especially around community management and development,” he said. “We’d be happy to receive talk proposals in these areas.”

\n

BuddyCamp Brighton is a historic event for the European BuddyPress community and will be formatted as an intimate gathering where attendees of all skill levels are welcome. BuddyPress enthusiasts will learn more about the varied uses of the plugin and will also have the opportunity to get connected to core contributors in the region.

\n

“If people go home happy and inspired to use BuddyPress to help them grow a community, then I’ll be very happy,” Gibbs said.

\n

Those interested to attend can subscribe to email updates or follow @BuddyCampUK on Twitter to be notified when tickets go on sale.

\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}s:7:\"pubDate\";a:1:{i:0;a:5:{s:4:\"data\";s:31:\"Mon, 08 Jun 2015 22:06:06 +0000\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}}s:32:\"http://purl.org/dc/elements/1.1/\";a:1:{s:7:\"creator\";a:1:{i:0;a:5:{s:4:\"data\";s:13:\"Sarah Gooding\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}}}}i:32;a:6:{s:4:\"data\";s:13:\"\n \n \n \n \n \n \n\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";s:5:\"child\";a:2:{s:0:\"\";a:5:{s:5:\"title\";a:1:{i:0;a:5:{s:4:\"data\";s:101:\"WPTavern: WordPress Theme Review Team Seeks Feedback on the Review Process, Themes, and the Directory\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}s:4:\"guid\";a:1:{i:0;a:5:{s:4:\"data\";s:28:\"http://wptavern.com/?p=44912\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}s:4:\"link\";a:1:{i:0;a:5:{s:4:\"data\";s:109:\"http://wptavern.com/wordpress-theme-review-team-seeks-feedback-on-the-review-process-themes-and-the-directory\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}s:11:\"description\";a:1:{i:0;a:5:{s:4:\"data\";s:5390:\"\"photophoto credit: Lukasz Kowalewski\n

The WordPress Theme Review Team (TRT) is currently seeking feedback via three separate surveys on the review process, themes, and the directory. After weathering several months of increasingly negative community feedback, the team is now looking to users and theme authors to help shape its roadmap for the future.

\n

The team’s controversial decision to require theme authors to use the customizer for building theme options ignited a heated debate, which continued as more guidelines came up for consideration. Community members expressed concern that more rules and regulations might limit the future of WordPress themes. The conversation surrounding violations of the “Presentation vs. Functionality” guideline contributed to the team’s decision to reevaluate the general direction of the official directory and the process of getting a theme approved.

\n

Following a brainstorming session with Matt Mullenweg on May 28th, the TRT decided to step back and look at the process and the directory in a new way. This opened up many new avenues for the team to explore, and the three user surveys are a response to the new direction.

\n

TRT member Tammie Lister opened up the feedback channels with an overview of the purpose behind the surveys:

\n

As a part of our Theme Directory Roadmap, we are going to be taking a good look at every aspect of the theme submission, review, and browsing experience on WordPress.org.

\n

To kick off the research phase of our roadmap, we’re issuing a series of surveys targeting theme authors, theme reviewers, and WordPress users. In addition to surveying users, we’ll also be analyzing other theme directories on the web, and reviewing other theme submission processes to see what we can bring back to WordPress.

\n

The Usability survey is an opportunity for anyone who has ever used a WordPress.org-hosted theme to voice an opinion on that experience. The survey briefly touches on whether the user views a demo before downloading the theme. The quality of theme demos is currently a hot topic of discussion, as many believe that the current demos are woefully inadequate at showing a theme’s potential.

\n

The Theme Review Process survey is specifically for theme authors and includes open-ended questions regarding the process and obstacles to getting a theme launched.

\n

The Finding a WordPress Theme survey concerns the directory, but it is the most limited in scope. The survey includes just one question about where users look for a theme when starting a new site.

\n

One WordPress theme developer commented on the survey, suggesting a few more detailed questions that could be helpful, but Lister indicated that the TRT is examining the first round of responses before moving on to further research.

\n

At this stage we should not get into too much detail as we want to get an over-view. We also have some stats we can use in conjunction. This is not something we’re going to change format wise this time around.

\n

The three surveys are a unique opportunity for users to voice their opinions on the experience of using WordPress.org themes, and take just minutes to complete. Hopefully, when the next stage of research is launched they will survey users on more specific concerns.

\n

The TRT’s request for feedback marks the beginning of a radical shift in the direction of the team. Instead of instituting more guidelines, TRT is looking at better ways to encourage creativity among theme authors and improve the process of submitting themes. The directory should also be receiving some useful improvements in the near future as the result of user feedback.

\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}s:7:\"pubDate\";a:1:{i:0;a:5:{s:4:\"data\";s:31:\"Mon, 08 Jun 2015 19:02:34 +0000\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}}s:32:\"http://purl.org/dc/elements/1.1/\";a:1:{s:7:\"creator\";a:1:{i:0;a:5:{s:4:\"data\";s:13:\"Sarah Gooding\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}}}}i:33;a:6:{s:4:\"data\";s:13:\"\n \n \n \n \n \n \n\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";s:5:\"child\";a:2:{s:0:\"\";a:5:{s:5:\"title\";a:1:{i:0;a:5:{s:4:\"data\";s:39:\"Akismet: Akismet WordPress Plugin 3.1.2\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}s:4:\"guid\";a:1:{i:0;a:5:{s:4:\"data\";s:31:\"http://blog.akismet.com/?p=1849\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}s:4:\"link\";a:1:{i:0;a:5:{s:4:\"data\";s:59:\"http://blog.akismet.com/2015/06/08/akismet-3-1-2-wordpress/\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}s:11:\"description\";a:1:{i:0;a:5:{s:4:\"data\";s:1209:\"

Version 3.1.2 of the Akismet plugin for WordPress is now available.

\n

This update includes seventeen fixes and enhancements; they’re summarized in the changelog (or for all of the details, the revision log), but notably, Akismet will be easier to set up, use less space in your database, and be better protected against security holes — specifically ones in other plugins.

\n

To upgrade, visit the Updates page of your WordPress dashboard and follow the instructions. If you need to download the plugin zip file directly, links to all versions are available in the WordPress plugins directory.


\"\" \"\"\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}s:7:\"pubDate\";a:1:{i:0;a:5:{s:4:\"data\";s:31:\"Mon, 08 Jun 2015 02:50:06 +0000\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}}s:32:\"http://purl.org/dc/elements/1.1/\";a:1:{s:7:\"creator\";a:1:{i:0;a:5:{s:4:\"data\";s:17:\"Christopher Finke\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}}}}i:34;a:6:{s:4:\"data\";s:13:\"\n \n \n \n \n \n \n\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";s:5:\"child\";a:2:{s:0:\"\";a:5:{s:5:\"title\";a:1:{i:0;a:5:{s:4:\"data\";s:32:\"Matt: The Agency – NYTimes.com\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}s:4:\"guid\";a:1:{i:0;a:5:{s:4:\"data\";s:21:\"http://ma.tt/?p=45132\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}s:4:\"link\";a:1:{i:0;a:5:{s:4:\"data\";s:44:\"http://ma.tt/2015/06/the-agency-nytimes-com/\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}s:11:\"description\";a:1:{i:0;a:5:{s:4:\"data\";s:372:\"

From a nondescript office building in St. Petersburg, Russia, an army of well-paid “trolls” has tried to wreak havoc all around the Internet — and in real-life American communities.

\n

This story of Adrian Chen in Russian definitely turns weird at the end.

\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}s:7:\"pubDate\";a:1:{i:0;a:5:{s:4:\"data\";s:31:\"Sun, 07 Jun 2015 14:52:45 +0000\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}}s:32:\"http://purl.org/dc/elements/1.1/\";a:1:{s:7:\"creator\";a:1:{i:0;a:5:{s:4:\"data\";s:4:\"Matt\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}}}}i:35;a:6:{s:4:\"data\";s:13:\"\n \n \n \n \n \n \n\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";s:5:\"child\";a:2:{s:0:\"\";a:5:{s:5:\"title\";a:1:{i:0;a:5:{s:4:\"data\";s:30:\"Matt: Aca-Awesome : Kay Cannon\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}s:4:\"guid\";a:1:{i:0;a:5:{s:4:\"data\";s:21:\"http://ma.tt/?p=45130\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}s:4:\"link\";a:1:{i:0;a:5:{s:4:\"data\";s:44:\"http://ma.tt/2015/06/aca-awesome-kay-cannon/\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}s:11:\"description\";a:1:{i:0;a:5:{s:4:\"data\";s:380:\"

Pitch Perfect and its sequel, which I saw a few weekends ago, are the best geeky kind of fun (though I thought there were some jokes that fell flat in the latest). Longreads has an interview with Kay Cannon, the Pitch Perfect screenwriter, How to Be Aca-Awesome and the changing definition of cool.

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Someone asked me the other day who my favorite rappers were, here they are in no particular order:

\n

Pre-2000: Big Pun, Jay Z, Nas, Ludacris, Method Man.

\n

Post-2000: Kendrick Lamar, Kanye, Childish Gambino, J Cole, Drake.

\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}s:7:\"pubDate\";a:1:{i:0;a:5:{s:4:\"data\";s:31:\"Sat, 06 Jun 2015 04:02:00 +0000\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}}s:32:\"http://purl.org/dc/elements/1.1/\";a:1:{s:7:\"creator\";a:1:{i:0;a:5:{s:4:\"data\";s:4:\"Matt\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}}}}i:37;a:6:{s:4:\"data\";s:13:\"\n \n \n \n \n \n \n\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";s:5:\"child\";a:2:{s:0:\"\";a:5:{s:5:\"title\";a:1:{i:0;a:5:{s:4:\"data\";s:48:\"WPTavern: A Primer on Writing Good Documentation\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}s:4:\"guid\";a:1:{i:0;a:5:{s:4:\"data\";s:28:\"http://wptavern.com/?p=44807\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}s:4:\"link\";a:1:{i:0;a:5:{s:4:\"data\";s:58:\"http://wptavern.com/a-primer-on-writing-good-documentation\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}s:11:\"description\";a:1:{i:0;a:5:{s:4:\"data\";s:8612:\"

\"JeffMatsonThumbnail\"This post was contributed by guest author Jeff Matson. Jeff is the head of documentation for GravityForms. He is the creator of the Heartbeat Control WordPress plugin and is a fan of the 90s.

\n
\n

Often times, documentation is the most underrated piece of the development process. When we look at rockstars in the WordPress community, we typically look at developers, designers, and marketers. Little is known about the documentation writers out there who shed their blood, sweat, and tears to ensure everything runs smoothly.

\n

This post is about those who day in, and day out stare at endless lines of code to decipher what the developer was thinking, and the true meaning behind the code that exists.

\n

Good Documentation is More Than Words

\n\"Documentationphoto credit: Variatie – Tekst – (license)\n

Good documentation writers provide more than an instruction manual, they provide an experience. I have known excellent documenters, coached beginners, and the largest difference between them is understanding the brain of those reading it. Just like a novel, documentation has a flow that keeps the reader interested and ingesting more information than they realize.

\n

Quality documentation targets the users that are most likely to read it. It also provides a point of reference for those who are more unlikely to read it. For example, if documenting a particular hook, it’s typically assumed that a developer will be reading it, but what about those who have little development experience?

\n

A good documentation writer will provide a point of reference for those who need more of a push in the right direction, without the need to contact support to spell it out for them.

\n

Documentation Has a Larger Impact Than You Think

\n\"Impactphoto credit: Eruption – (license)\n

Most simply ignore documentation, pushing it off into the endless abyss until they can’t take it anymore. I’m guilty of the same thing in some cases. What those people don’t realize, is that every moment their plugin or theme is left undocumented, user experience suffers.

\n

Let’s take a look at your most common support ticket. If you better documented that issue, would those tickets go away entirely? Probably not. Would you get fewer tickets regarding the issue as well as increase you or your support agent’s productivity? I guarantee it. I think we could all use fewer support tickets.

\n

As I mentioned previously, documentation makes a dramatic impact on user experience. If the user is able to locate the information easily and efficiently, they have saved their own time as well as yours. The average world life expectancy is 66.57 years and your users would rather be doing something else with their lives than fiddling around with poorly written documentation.

\n

If a customer sees that you have put quite a bit of time and effort into your documentation, they will, whether consciously or not, better appreciate you. Good documentation shows you care about them after the initial sale.

\n

Have you ever been left high and dry after spending hard-earned money and soon regretted the purchase? I think we all have. With proper documentation, you can avoid passing that feeling off to your customers.

\n

How Can You Write Better Documentation?

\n

The first step is to stop avoiding it. Once you’re good at it, writing documentation is more of a pleasurable experience than you think. In fact, it will become second nature. Just like everything else in the world, practice makes perfect.

\n

One of the first steps you want to take when deciding to take your documentation to the next level is to determine your pain points. What are you being contacted about? If you start blindly writing about things, you may find that what you’re writing about isn’t making as much of an impact you would like it to.

\n

One of the best techniques I have discovered is to track the number of tickets that are documented vs. those that are not, and break those that are not into categories. This way, you can better target your pain points, and revise the parts that may not be as helpful as they should be.

\n

After you have determined what documentation you should write, you should determine your target audience, and break it down into developers, users, and power users. This helps you cater to that particular audience. We’ll go over how to target those users a bit later.

\n

Next, you want to break down the document. For developers, you’ll want to break it down into raw information (accepted arguments, return values, etc.), specific examples and use-cases. For users, the best course of action is a walkthrough. Every step they will need to take, regardless of how trivial it may seem, is critical.

\n

Spell it out to them every step of the way. Documenting for power users is very similar to a user scenario, but more structured and scannable. Be clear, but allow them to easily jump to where they need to go without reading the previous step first.

\n

The Art of Writing Better Documentation

\n\"Documentationphoto credit: Space invader. Paris. Gare de lyon – (license)\n

When it comes to the art of writing your documentation, write in a way that best targets your audience, but also use simple language that you know they will understand. One of the best reasons for this is due to translations. While Google translate does an excellent job, it’s much easier to translate the simple vocabulary of a 5th grader than that contained within a post-grad thesis.

\n

Within your content, don’t be afraid to link to relevant content. This will allow you to avoid repeating yourself through multiple documents, as well as allow the reader to back-track if they need more information about a particular subject. After all, your main goals are to make the user happy, and save yourself time.

\n

The documentation process doesn’t stop after you press the publish button. Go back and revise every document as needed. Almost immediately after the document is published, go back and see if the support tickets you tracked have declined, and traffic to that particular article has increased. Usually, if you’re getting more traffic to an article, it’s helping. If you’re getting more traffic but the same number of support tickets, you may want to look into that article to see why.

\n

What We Have Learned

\n

First, I hope that after making it this far, you have a better appreciation for those in the trenches writing the documentation that most of us take for granted. It truly is an art form that many of us who write documentation for a living truly enjoy and put many, many hours into.

\n

I also hope that you come away from this article thinking more about your existing documentation and how it can be improved. Proper documentation can be extremely rewarding and once in practice, can actually be quite fun to write.

\n

Document early, document often. A great product is more than great code, it’s also beautifully documented.

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WordPress 4.3 release lead Konstantin Obenland posted notes from this week’s core development chat, confirming that the Menu Customizer plugin has been conditionally approved to merge. The approval is pending a few conditions that will be required before officially merging it:

\n\n

One of the most controversial aspects of the proposal submitted by project leader Nick Halsey was the timeline he outlined for removing all core links to the old Menus admin screen in future releases. Commenters on the proposal reacted strongly to this approach as well as this particular use of the customizer.

\n

Discussion continued following the meeting, as Halsey wanted to address the critical issue of the timeline for removing removing the menus screen from the admin. He attributes the resistance to the customizer to a lack of education on the feature and strongly advocates “focusing on the new UI as the primary (and in terms of development, only) menus admin interface.”

\n

For Menu Customizer, this idea has been part of the project from the very beginning. My GSoC proposal (3/20/14) states ‘If the Menu Customizer provides all of the features of the existing menu management screen, while clearly demonstrating that it is a better solution than the existing screen in user tests, it could potentially replace the existing screen entirely for users that can access the Customizer,’ and there has never been indication that this isn’t the direction we should move in, other than the general and ongoing resistance to the Customizer as a whole that we’ve seen from many community members (which I think is more of an educational issue).

\n

Discussion continues on the matter and work will move forward on the plugin to ensure that it meets the conditions outlined for its merge into WordPress 4.3.

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One of the most exciting features added in BuddyPress 2.3 is the new BP Attachments API. It provides a BP core-supported method of managing user-submitted files and opens up a world of possibilities for plugin developers.

\n

The API powers the new avatar uploads UI, but it can also be used to extend BuddyPress to add media sharing capabilities. If you want to see a good example of this in the wild, check out BuddyDrive version 1.3.0. The plugin was created by BP core developer Mathieu Viet, who led the effort to get the BP Attachments API into the latest release.

\n

BuddyDrive allows members to share a file or a list of files with the community and includes various settings for restricting access. It’s essentially like a Dropbox clone for BuddyPress, designed to enhance collaboration between members. The plugin was a prime candidate for adapting the BP Attachments API to power community file sharing in a simpler, more elegant way.

\n

You can see it active in the new “BuddyDrive Editor” included in version 1.3, demonstrated in the video below:

\n

\n

Viet posted an example function in the plugin’s wiki to show how the BuddyDrive Editor can be placed anywhere. The feature is a good example of how easy it is for developers to leverage the API to manage user-generated media from the frontend.

\n

BuddyDrive 1.3 is currently in beta and on track to be released soon. If you’d like to help test the beta or inspect the code to see how it works, you can download a zip file from Viet’s preview post. The unreleased version 1.3 is also available on GitHub.

\n

If you want to learn more about using the new BP Attachments API, check out Viet’s comprehensive BP codex article. It walks you through extending the BP_Attachment class to validate and store files in a subdirectory of wp-content/uploads. The documentation also includes a sample plugin to demonstrate how you might add attachments to private messages.

\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}s:7:\"pubDate\";a:1:{i:0;a:5:{s:4:\"data\";s:31:\"Fri, 05 Jun 2015 04:20:05 +0000\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}}s:32:\"http://purl.org/dc/elements/1.1/\";a:1:{s:7:\"creator\";a:1:{i:0;a:5:{s:4:\"data\";s:13:\"Sarah Gooding\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}}}}i:40;a:6:{s:4:\"data\";s:13:\"\n \n \n \n \n \n \n\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";s:5:\"child\";a:2:{s:0:\"\";a:5:{s:5:\"title\";a:1:{i:0;a:5:{s:4:\"data\";s:72:\"WPTavern: How to Add a Default Image to Jetpack’s Related Posts Module\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}s:4:\"guid\";a:1:{i:0;a:5:{s:4:\"data\";s:28:\"http://wptavern.com/?p=44865\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}s:4:\"link\";a:1:{i:0;a:5:{s:4:\"data\";s:79:\"http://wptavern.com/how-to-add-a-default-image-to-jetpacks-related-posts-module\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}s:11:\"description\";a:1:{i:0;a:5:{s:4:\"data\";s:2712:\"

Jetpack’s related posts module is a great way to show related content without using the same server resources used to host a site. When activated, the module displays three related posts. One of two options available is to use a large and visually striking layout.

\n\"JetpackJetpack Related Posts Configuration\n

When enabled, the module looks for a large image that’s at least 350x200px in posts and uses it when displaying related posts.

\n

The downside to using this option is that related posts that don’t use images will display as a post excerpt instead. This can cause an undesirable look, especially if one or two related posts have images.

\n\"RelatedRelated Posts Displaying a Post Excerpt\n

Jeremy Herve who works on the Jetpack team published a tutorial that explains how to show a default image if one is not detected. Both of his solutions require the user to add code which is a barrier for many users.

\n

Brian Krogsgard of PostStatus.com recommends that a conditional option be added that allows users who use a large and visually striking layout to easily configure a default image.

\n

Currently, the user can click a checkbox to enable images for related posts output. I propose that an image upload option conditionally appear upon the image option being selected.

\n

That keeps the option out of sight for folks that don’t use images for related posts but makes it easier for normal folks to upload a default image for what I imagine would be an incredibly well adopted feature.

\n

It’s a great suggestion and removes the need to edit or modify code. Although one of WordPress’ philosophies is decisions not options, this is a scenario where I think it makes sense. If this is an option you’d like to see added or have a different suggestion, you’re encouraged to participate in the discussion on GitHub.

\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}s:7:\"pubDate\";a:1:{i:0;a:5:{s:4:\"data\";s:31:\"Thu, 04 Jun 2015 23:03:22 +0000\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}}s:32:\"http://purl.org/dc/elements/1.1/\";a:1:{s:7:\"creator\";a:1:{i:0;a:5:{s:4:\"data\";s:13:\"Jeff Chandler\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}}}}i:41;a:6:{s:4:\"data\";s:13:\"\n \n \n \n \n \n \n\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";s:5:\"child\";a:2:{s:0:\"\";a:5:{s:5:\"title\";a:1:{i:0;a:5:{s:4:\"data\";s:70:\"WPTavern: All Official Easy Digital Downloads Themes are Now 100% Free\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}s:4:\"guid\";a:1:{i:0;a:5:{s:4:\"data\";s:28:\"http://wptavern.com/?p=44831\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}s:4:\"link\";a:1:{i:0;a:5:{s:4:\"data\";s:79:\"http://wptavern.com/all-official-easy-digital-downloads-themes-are-now-100-free\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}s:11:\"description\";a:1:{i:0;a:5:{s:4:\"data\";s:4235:\"

\"EasyDigitalDownloadsFeaturedImage\"

\n

Easy Digital Downloads announced a major change to its themes marketplace today. All official EDD themes (those that are built by the EDD core team) are now 100% free. This includes half a dozen themes that are guaranteed to be fully compatible with EDD, including the new Vendd theme launching today.

\n

EDD support manager Sean Davis clarified how the free themes will be supported:

\n

Official EDD themes are available to you at absolutely no cost. They will still be licensed so that you can receive theme updates directly from your WordPress dashboard and we will also provide support. The only thing changing is the price.

\n

Responding to criticism on Twitter saying that the change contributes to the undervaluation of WordPress themes, EDD founder Pippin Williamson said, “For us it’s not about the themes. It’s about the entire package. By making it easy for users to have a good shop up and running in minutes, we significantly increase the potential value to that customer and of that customer. We also dramatically reduce the cost of support by having more users on more reliable themes that are built for EDD.”

\n

Making half a dozen themes free might seem like it would significantly increase EDD’s support burden, but Williamson expects that the move will pay off in other ways. Like many other WordPress business owners who have made some of their best work free, Williamson has a strategy for how it will work.

\n

“The change lowers the barrier to entry,” Williamson said. “When the barrier is lowered, the user base grows. When the user base grows, the customer base grows. From a business side, we will have far more success converting free users to paid customers after they’ve already been given a great experience with a theme.”

\n

@nphaskins Not sugar coating it at all. We\'ll make 5x more by giving them away than we did selling them @sdavismedia @natewr

\n

— Pippinsplugins (@pippinsplugins) June 4, 2015

\n

\n

This major change is in line with EDD’s basic freemium business model, which has been in place from the start. The core product(s) are free and satisfied users go on to make purchases from the add-ons marketplace.

\n

“By setting them up with a good theme from the get go, the likelihood that they become a paying customer is substantially higher,” Williamson said.

\n

So far, the freemium model has worked well for the company and making six theme products free makes sense when the business primarily revolves around plugins. After just three years in business, EDD pulled in roughly half a million dollars in revenue in 2014. As themes were not a significant portion of the revenue, Williamson is re-assigning them to be free products in order to continue to build a customer base for his plugins.

\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}s:7:\"pubDate\";a:1:{i:0;a:5:{s:4:\"data\";s:31:\"Thu, 04 Jun 2015 19:13:47 +0000\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}}s:32:\"http://purl.org/dc/elements/1.1/\";a:1:{s:7:\"creator\";a:1:{i:0;a:5:{s:4:\"data\";s:13:\"Sarah Gooding\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}}}}i:42;a:6:{s:4:\"data\";s:13:\"\n \n \n \n \n \n \n\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";s:5:\"child\";a:2:{s:0:\"\";a:5:{s:5:\"title\";a:1:{i:0;a:5:{s:4:\"data\";s:24:\"Matt: WordCamp US Survey\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}s:4:\"guid\";a:1:{i:0;a:5:{s:4:\"data\";s:21:\"http://ma.tt/?p=45127\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}s:4:\"link\";a:1:{i:0;a:5:{s:4:\"data\";s:40:\"http://ma.tt/2015/06/wordcamp-us-survey/\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}s:11:\"description\";a:1:{i:0;a:5:{s:4:\"data\";s:506:\"

We’re trying something new this year: instead of WordCamp San Francisco being the main WordCamp event of the year doing a WordCamp US in a rotating city. I’ve heard some great in-person pitches for places like Phoenix already. Do you think your city would be the coolest place in the 50 states for the first ever WordCamp US? Submit your city in this new survey. It’s open until the end of the month.

\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}s:7:\"pubDate\";a:1:{i:0;a:5:{s:4:\"data\";s:31:\"Thu, 04 Jun 2015 07:01:31 +0000\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}}s:32:\"http://purl.org/dc/elements/1.1/\";a:1:{s:7:\"creator\";a:1:{i:0;a:5:{s:4:\"data\";s:4:\"Matt\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}}}}i:43;a:6:{s:4:\"data\";s:13:\"\n \n \n \n \n \n \n\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";s:5:\"child\";a:2:{s:0:\"\";a:5:{s:5:\"title\";a:1:{i:0;a:5:{s:4:\"data\";s:67:\"WPTavern: WordCamp US 2015 Now Accepting Applications for Host City\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}s:4:\"guid\";a:1:{i:0;a:5:{s:4:\"data\";s:28:\"http://wptavern.com/?p=44810\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}s:4:\"link\";a:1:{i:0;a:5:{s:4:\"data\";s:77:\"http://wptavern.com/wordcamp-us-2015-now-accepting-applications-for-host-city\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}s:11:\"description\";a:1:{i:0;a:5:{s:4:\"data\";s:3841:\"

\"usa-flag\"

\n

WordCamp San Francisco has traditionally been one of the most important WordPress events of the year where Matt Mullenweg delivers his annual State of the Word address. Last year, he announced that the the event had outgrown the Mission Bay venue and that it would be expanding to become WordCamp US in 2015.

\n

Touch the walls as you walk out, as this is the last time we\'ll have #WordCampSF here! ~ @photomatt #wcsf14 #endofanera

\n

— WordCamp SF (@WordCampSF) October 26, 2014

\n

\n

The decision to seek a new venue in a new city was partly based on the need to make room for more attendees and presentations. Another benefit of moving the event out of San Francisco, one of the most expensive cities in the world, is that it will likely become more accessible to a greater number of people.

\n

WordCamp US will follow a format similar to WordCamp Europe in that it will be held in a rotating city. The city has not yet been selected, which is surprising given that the year is nearly halfway finished.

\n

Mullenweg put out a call for host city applications on his blog and linked to a survey where candidates can apply.

\n

There are a lot of cities out there that might be an excellent fit for WordCamp US, but many are lacking a vibrant local WordPress community to help support the event. While this is not stated as an explicit requirement, it would be difficult to pull off such a large event without an army of local volunteers.

\n

WordPress is aiming big for its first ever WordCamp US. The survey states that host city applicants must secure a venue with hotels within three miles that can support 1,500 – 2,000 attendees. Potential organizers must supply average hotel costs for a range of budgets and average flight costs from the West Coast, East Coast, Midwest, Mexico, and Canada.

\n

Hosting the event will be a massive undertaking that will require an organization team capable of putting everything together in a very short amount of time. Events of this size normally have the benefit of longer planning periods. For example, applications to host WordCamp Europe 2016 closed two months ago and the team is already training volunteers for next year’s event.

\n

If your team is up to the challenge of hosting WordCamp US, you’ll need to be prepared to submit venue information with room capacities, a detailed event budget, potential dates, and contributor day options. So far, Mullenweg has received in-person pitches for Phoenix but the application process is open to teams from any city. When WP Tavern readers were surveyed seven months ago, commenters favored Chicago, Las Vegas, Kansas City, Houston, and Dallas.

\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}s:7:\"pubDate\";a:1:{i:0;a:5:{s:4:\"data\";s:31:\"Thu, 04 Jun 2015 04:58:10 +0000\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}}s:32:\"http://purl.org/dc/elements/1.1/\";a:1:{s:7:\"creator\";a:1:{i:0;a:5:{s:4:\"data\";s:13:\"Sarah Gooding\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}}}}i:44;a:6:{s:4:\"data\";s:13:\"\n \n \n \n \n \n \n\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";s:5:\"child\";a:2:{s:0:\"\";a:5:{s:5:\"title\";a:1:{i:0;a:5:{s:4:\"data\";s:36:\"Matt: Unsubscribing from Newsletters\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}s:4:\"guid\";a:1:{i:0;a:5:{s:4:\"data\";s:21:\"http://ma.tt/?p=45117\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}s:4:\"link\";a:1:{i:0;a:5:{s:4:\"data\";s:52:\"http://ma.tt/2015/06/unsubscribing-from-newsletters/\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}s:11:\"description\";a:1:{i:0;a:5:{s:4:\"data\";s:2593:\"

When Gmail first came out I got on pretty early and procured what I thought was a cool email address, mmmmmm@gmail.com. That’s because matt@ was too short, and matthew@ was taken. Ask anyone with a “cool” email address on a major service or Twitter handle and you’ll mostly hear about what a pain it is constantly getting spam, other people’s email, and people trying to log in to your account. These days it seems that address is used mostly by people forced to put something into an email form at places they don’t want to, so constant mail from mortgage places, car dealerships, porn sites, and countless email newsletters. I never ended up using the account for anything myself besides normal Google stuff.

\n

There’s a service to help you unsubscribe from things called Unroll.me which is pretty neat, and it’ll scan your account to find all of the newsletters and things you can unsubscribe from, and gives you a one-click interface to do so. Unfortunately if you had over 5,000 “subscriptions” as I had, that becomes a 5,000 click operation and they provide no bulk tools, and apparently no plans to add them:

\n

@photomatt unfortunately there\'s no mass unsubscribe option at this time, though we are seriously considering it for the future!

\n

— Unroll.Me (@Unrollme) May 5, 2015

\n

\n

I assume this is because they want people to add newsletters to their digest service instead of just unsubscribing. Code to the rescue! Written by the inimitable Scott Reilly. After you sign up and sign in, go to this page, go to the javascript console (in Chrome: View → Developer → Javascript Console), then copy and paste the below code and press enter.

\n.gist table { margin-bottom: 0; }\n

\n

Then sit back and wait, it’s set so every 1.5 seconds it clicks an unsubscribe link. I do this about once a week now since I can accumulate 20-100 new subscriptions in that time. This code will break if they change anything, but should be pretty easy to update when they do. It currently shows me as unsubscribed from 7,868 things! If there was a way to pay for my account on Unroll.me I would do so happily.

\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}s:7:\"pubDate\";a:1:{i:0;a:5:{s:4:\"data\";s:31:\"Thu, 04 Jun 2015 02:23:00 +0000\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}}s:32:\"http://purl.org/dc/elements/1.1/\";a:1:{s:7:\"creator\";a:1:{i:0;a:5:{s:4:\"data\";s:4:\"Matt\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}}}}i:45;a:6:{s:4:\"data\";s:13:\"\n \n \n \n \n \n \n\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";s:5:\"child\";a:2:{s:0:\"\";a:5:{s:5:\"title\";a:1:{i:0;a:5:{s:4:\"data\";s:82:\"WPTavern: BuddyPress 2.3 “Livio” Released, Features the New BP Attachments API\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}s:4:\"guid\";a:1:{i:0;a:5:{s:4:\"data\";s:28:\"http://wptavern.com/?p=44666\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}s:4:\"link\";a:1:{i:0;a:5:{s:4:\"data\";s:85:\"http://wptavern.com/buddypress-2-3-livio-released-features-the-new-bp-attachments-api\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}s:11:\"description\";a:1:{i:0;a:5:{s:4:\"data\";s:4503:\"\"photophoto credit: Chez Livio on TripAdvisor.com\n

BuddyPress 2.3 “Livio” was released today, named in honor of Chez Livio, a famous Italian restaurant and pizza joint in Paris. Development on the 2.3 release cycle began in March with contributors prioritizing work on new APIs alongside improvements to BuddyPress’ existing APIs. Here’s a quick overview of what’s new:

\n

BP Attachments API

\n

The highlight of this release is the BP Attachments API, a new library that enables developers to create components that have the ability to manage uploads. You can see it in action in the greatly improved avatar uploads UI, which now supports drag-and-drop uploads and includes mobile integration with phone/tablet/laptop cameras.

\n

\"avatar-ui\"

\n

Companion Stylesheets for WordPress Default Themes

\n

If you want to test BuddyPress and you’re not sure which theme to use, check out one of WordPress’ most recent default themes. Version 2.3 of the plugin ships with companion stylesheets for Twenty Fourteen and Twenty Fifteen, which tidy up the appearance of BuddyPress components and UI elements when the default themes are active. The stylesheets also introduce vertical menus that eliminate the crowding often seen in the horizontal user/group navigation.

\n

\"bp-user-account-nav\"

\n

Better Excerpts for Blog Post Activity

\n

Version 2.3 has better support for blog post activity items. If the Site Tracking component is activated, BuddyPress will now display better excerpts in the activity stream for posts containing images or other embedded media. This improvement pairs nicely with the custom post type support that was added to the activity stream in the 2.2. release.

\n

\"activity-stream-blog-post\"

\n

Other highlights in BuddyPress 2.3 include:

\n\n

Overall this release offers an excellent balance between new features and improvements upon existing features, which combine to make BuddyPress more extensible and more enjoyable to use. It includes hundreds of bug fixes and enhancements from 40 volunteer contributors. For a full list of changes, check out the BuddyPress codex page for version 2.3.

\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}s:7:\"pubDate\";a:1:{i:0;a:5:{s:4:\"data\";s:31:\"Wed, 03 Jun 2015 21:19:53 +0000\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}}s:32:\"http://purl.org/dc/elements/1.1/\";a:1:{s:7:\"creator\";a:1:{i:0;a:5:{s:4:\"data\";s:13:\"Sarah Gooding\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}}}}i:46;a:6:{s:4:\"data\";s:13:\"\n \n \n \n \n \n \n\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";s:5:\"child\";a:2:{s:0:\"\";a:5:{s:5:\"title\";a:1:{i:0;a:5:{s:4:\"data\";s:74:\"WPTavern: Menu Customizer Officially Proposed for Merge Into WordPress 4.3\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}s:4:\"guid\";a:1:{i:0;a:5:{s:4:\"data\";s:28:\"http://wptavern.com/?p=44729\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}s:4:\"link\";a:1:{i:0;a:5:{s:4:\"data\";s:84:\"http://wptavern.com/menu-customizer-officially-proposed-for-merge-into-wordpress-4-3\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}s:11:\"description\";a:1:{i:0;a:5:{s:4:\"data\";s:5536:\"

Contributors on the Menu Customizer feature plugin are proposing its inclusion in WordPress 4.3. Nick Halsey posted the Customizer Team’s proposal last night, beginning with a summary of the purpose of moving menu management into the customizer:

\n

In the process, we hope to offer an updated design with improved user flow, a mobile-first interface, improved accessibility, rebuild the administration UI from the ground up to be JavaScript-driven, solve long-standing problems with the current implementation, and clarify the purposes and capabilities of the menus feature. Additionally, Menu Customizer contributes significantly to the long-term goal to move all appearance functionality and, really, everything that could benefit from live previewing, from the admin to the Customizer.

\n

Menu management in the customizer is essentially a full replacement of all the capabilities previously housed in the admin. It allows for editing, reordering, deleting, and adding individual menu items within any menu. The plugin adds a convenient global search that includes all post types, terms, and taxonomies.

\n

The video below was prepared by Halsey’s team to demonstrate the capabilities of the Menu Customizer:

\n

\n

The dizzying speed with which she flips between panels in the demo is not representative of the capabilities of your average WordPress user. Given that the plugin currently requires WordPress 4.3 alpha, it’s not likely that it has not been widely tested by users of varying experience levels.

\n

My initial impression after testing is that managing menus in the customizer makes me feel claustrophobic. The live previews and the mobile friendliness are the big wins here, but they come at the expense of a squished menu management experience. For sites that use WordPress as a CMS, with dozens and sometimes hundreds of pages and subpages, menu management in the customizer could become rather cumbersome.

\n

\"menu-customizer-test-add-page\"

\n

I have no doubt that the Menu Customizer has been architected to perform better as a JavaScript-driven solution for managing menus. Halsey and the team employed no small amount of wizardry in creating the custom panel for implementing screen options and the sections that lazy load menu items.

\n

But if you put a relatively new WordPress user in front of the customizer menu panel, will it be intuitive to use? Will stuffing menus into the customizer cause the usability of the feature to decline?

\n

Reactions to the proposal in the Advanced WordPress Facebook group were less than enthusiastic, as not many favor expanding the customizer’s reach into menu management.

\n

“I really don’t feel the Customizer is the correct place to manage menus or any content for that matter,” member Tom Hemsley commented. “If a theme offers styling options for a menu then fair enough – put those styling options in the customizer. But the customizer is not the place for managing content. Why not force people to create new posts using the Customizer, too?”

\n

Lisa League’s comment accurately summarizes many others’ initial reactions to the demo video: “My first impression of Make was not ‘Cool, look how they did this with the customizer’ but ‘Whoa, there’s too much stuff in this tiny space.\'”

\n

If the Menu Customizer plugin is approved to merge into core, Halsey outlined a plan for the removal of the old menu admin screen in favor of focusing all new development on the UI in the customizer. WordPress 4.3 would point the Menus link in the admin bar to Menus in the customizer and later releases would remove all core links to the Menus admin screen, or point them to the customizer.

\n

“The above plan is fairly aggressive, to eliminate any ambiguity about future plans and intentions and to avoid the potential for mass trac ticket rot,” Halsey said.

\n

WordPress cannot move forward without making changes and taking risks. The question of whether or not to merge the Menu Customizer plugin should inspire some fairly active discussion in the days ahead. If you want to test the plugin for yourself, the easiest way is to install the WordPress Beta Tester plugin to get 4.3-alpha running and then install Menu Customizer from WordPress.org.

\n

Core contributors will discuss the Menu Customizer proposal today during the regularly scheduled development meeting on Slack. According to the WordPress 4.3 project schedule, the feature plugin merge window will close June 17th and the official release is expected in mid-August.

\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}s:7:\"pubDate\";a:1:{i:0;a:5:{s:4:\"data\";s:31:\"Wed, 03 Jun 2015 18:15:20 +0000\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}}s:32:\"http://purl.org/dc/elements/1.1/\";a:1:{s:7:\"creator\";a:1:{i:0;a:5:{s:4:\"data\";s:13:\"Sarah Gooding\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}}}}i:47;a:6:{s:4:\"data\";s:13:\"\n \n \n \n \n \n \n\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";s:5:\"child\";a:2:{s:0:\"\";a:5:{s:5:\"title\";a:1:{i:0;a:5:{s:4:\"data\";s:70:\"WPTavern: Steven Gliebe Launches WordPress Commercial Plugin Directory\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}s:4:\"guid\";a:1:{i:0;a:5:{s:4:\"data\";s:28:\"http://wptavern.com/?p=44649\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}s:4:\"link\";a:1:{i:0;a:5:{s:4:\"data\";s:80:\"http://wptavern.com/steven-gliebe-launches-wordpress-commercial-plugin-directory\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}s:11:\"description\";a:1:{i:0;a:5:{s:4:\"data\";s:6532:\"

More than 38k plugins are available for free on the WordPress plugin directory. While the theme directory has a category for commercial themes, the plugin directory does not.

\n

When Matt Medeiros interviewed Matt Mullenweg earlier this year and asked if the plugin directory could turn into something similar to an app store, Mullenweg replied that the plugin directory will not turn into a market place or an app store and will never host commercial plugins. Outside of CodeCanyon, I’m not aware of any WordPress plugin directory that focuses on commercial plugins.

\n

Introducing Pro Plugin Directory

\n

Steven Gliebe who runs HostingReviews.io and is the founder of Churchthemes.com has launched the Pro Plugin Directory. The site lists commercial plugins from a variety of categories including, forms, performance, and security. Its design is based on a modified child theme of Checkout by ArrayHQ.

\n\"ProPro Plugin Directory Home Page\n

Gliebe created the site because he was frustrated that there was no resource for easily locating commercial WordPress plugins.

\n

“Most of the time I do find what I need in the free directory. Sometimes though, I want to see what the commercial options are,” he said.

\n

After asking several members of the community if such a site already exists, he came up empty. “I asked around and found that apparently there is no definitive Pro plugin directory as I suspected, so I thought I’d give it a go. WordPress is 12 years old and it’s beyond time to establish this.”

\n

Monetization Strategy

\n

Maintaining a directory can be hard work and without a way to be paid for the effort involved, interest can disappear quickly. Affiliate links are a natural strategy for the site while another is to sell upgraded listings.

\n

His focus is getting the site established with as many listings as possible. “Right now, my focus is on building up the site and making it useful. If it proves to be successful in that respect then I’m sure there will be a reasonable way to turn a profit and take it to the next level,” Gliebe said.

\n

Scalability

\n

One of the largest obstacles of running a directory is scalability. In the case of Pro Plugin Directory, the submissions come directly from the plugin sellers. The Submission Guidelines have certain requirements to help ensure quality content.

\n

“The original content they submit is in a sense their payment for being listed and gaining exposure. There surely is work to be done but it will not be as heavy as ThemeSorter or similar failed plugin and theme directory endeavors. I basically click approve or reject with the way it’s setup,” Gliebe said.

\n\"SearchSearchWP Plugin Directory Listing\n

How Success will be Measured

\n

Without monetizing the site up front and being a new resource within the community, Gliebe tells the Tavern what metrics he’ll use to measure success.

\n

“Repeat visitors. If I see that people return to the site to find commercial plugin options then I’ll know that it is a go-to resource. I would also like to see search engine results for specific types of plugins return the free plugin directory at position number one and a Pro Plugin Directory category at number two, so that the user has a complete picture of his options readily available.”

\n

The Directory is Useless Without Plugin Submissions

\n

The directory won’t become what Gliebe envisions unless commercial plugin authors submit their plugins. “In order for these things to happen, the directory needs plugins. It needs a very wide selection of commercial WordPress plugins. I need the support of plugin authors above all.”

\n

Although Gliebe is encouraged with the number of plugins already submitted to the site, he needs the directory to be the first thing people think of when searching for a commercial option.

\n

“If it becomes a go-to place for plugin sellers to market their new plugins then it just might work. I figure, if they know about it, why wouldn’t they list their plugins? It’s free, it’s easy, and I’d do it myself before other, harder, marketing tactics.”

\n\"ProPro Plugin Directory Submission Form\n

Does it Stand a Chance?

\n

Creating a commercial plugin directory is not a new idea. Brad Touesnard founded the WordPress App Store which tried to be a commercial plugin directory while making it easier to browse and buy plugins. It didn’t attract the number of eyeballs needed to make the business sustainable and ultimately shut down.

\n

If Gliebe can’t get the support of commercial plugin authors and find a way to get a large number of plugins into the directory within a year, it will likely suffer the same fate.

\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}s:7:\"pubDate\";a:1:{i:0;a:5:{s:4:\"data\";s:31:\"Wed, 03 Jun 2015 04:38:34 +0000\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}}s:32:\"http://purl.org/dc/elements/1.1/\";a:1:{s:7:\"creator\";a:1:{i:0;a:5:{s:4:\"data\";s:13:\"Jeff Chandler\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}}}}i:48;a:6:{s:4:\"data\";s:13:\"\n \n \n \n \n \n \n\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";s:5:\"child\";a:2:{s:0:\"\";a:5:{s:5:\"title\";a:1:{i:0;a:5:{s:4:\"data\";s:27:\"Matt: Jefferson on Idleness\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}s:4:\"guid\";a:1:{i:0;a:5:{s:4:\"data\";s:21:\"http://ma.tt/?p=45122\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}s:4:\"link\";a:1:{i:0;a:5:{s:4:\"data\";s:43:\"http://ma.tt/2015/06/jefferson-on-idleness/\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}s:11:\"description\";a:1:{i:0;a:5:{s:4:\"data\";s:153:\"

\nDetermine never to be idle. It is wonderful how much may be done if we are always doing.

\n

— Thomas Jefferson

\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}s:7:\"pubDate\";a:1:{i:0;a:5:{s:4:\"data\";s:31:\"Wed, 03 Jun 2015 04:26:00 +0000\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}}s:32:\"http://purl.org/dc/elements/1.1/\";a:1:{s:7:\"creator\";a:1:{i:0;a:5:{s:4:\"data\";s:4:\"Matt\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}}}}i:49;a:6:{s:4:\"data\";s:13:\"\n \n \n \n \n \n \n\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";s:5:\"child\";a:2:{s:0:\"\";a:5:{s:5:\"title\";a:1:{i:0;a:5:{s:4:\"data\";s:63:\"WPTavern: The Quest for the Perfect WordPress Admin Search Tool\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}s:4:\"guid\";a:1:{i:0;a:5:{s:4:\"data\";s:28:\"http://wptavern.com/?p=44660\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}s:4:\"link\";a:1:{i:0;a:5:{s:4:\"data\";s:73:\"http://wptavern.com/the-quest-for-the-perfect-wordpress-admin-search-tool\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}s:11:\"description\";a:1:{i:0;a:5:{s:4:\"data\";s:8586:\"\"photophoto credit: Jesse Bowser\n

The quest for the perfect WordPress admin search tool continues with yet another plugin designed to help you zip around the backend. Those who are familiar with Alfred for Mac will find many similarities in Aladdin, which was released today by Gerasimos Tsiamalos and the folks at CSSIgniter.

\n

Aladdin joins the ranks of Jarvis, WP Butler, WP Jump Menu, and Jetpack’s Omnisearch in the recent proliferation of WordPress admin search tools. The plugin provides a simple keyboard quick launcher for accessing WordPress admin menu items.

\n

\"aladdin-example\"

\n

After installing the plugin, users can launch Aladdin by pressing the Shift key twice. Start typing in the search modal until you see the menu option then press enter. Here’s a quick demo of how it works:

\n

\"aladdin\"

\n

How Does Aladdin Compare to Other WordPress Admin Search Tools?

\n

Aladdin cannot yet measure up to other admin search tools without adding the capability of searching through content. Tsiamalos posted his plugin in the Advanced WordPress users Facebook group this morning, requesting feedback.

\n

“I’m thinking of adding auto-complete for user-generated content as well – Posts, Pages, Post Types etc.,” he said.

\n

Initial testers of the plugin were enthusiastic about the interface but could not see a use for it outside of a large website with lots of menus for custom post types and/or a long list of plugins installed. Small, simple blogging sites would not benefit from this tool unless Tsiamalos adds the ability to search for user-generated content. In its current state, it’s best suited to those who are using WordPress as a CMS.

\n

“I initially built it for my local multisite (60+ plus themes to maintain) and I thought others would find it useful, too,” Tsiamalos told the Tavern. This kind of scenario makes sense for the plugin’s current capabilities.

\n

Aladdin’s interface, with its convenient launch and lightning fast filtering, is the golden feature of this plugin. After testing Aladdin, I believe the tool has a lot of promise, especially once the author expands its capabilities to include content searching. The search modal is currently positioned too low on the page, but that’s an easy fix. The fact that the modal is always hidden unless summoned is also a bonus.

\n

The interface for Jetpack’s Omnisearch module cannot compare. While it functions well to search through the admin and content, it requires the user to scroll to the top to type into the admin search bar or visit the dedicated Omnisearch page. Searching redirects you to a cluttered results page that is not convenient to browse.

\n

Overall, the experience of searching with Jarvis is simpler and more visually appealing than Aladdin or the Omnisearch module. It searches both admin menu items and user-generated content. It can be launched using the quick key “/” or by typing in the admin search bar. The demo below demonstrates how it works:

\n

\"jarvis-demo\"

\n

Unfortunately, Jarvis hasn’t been updated in more than year. Similarly, WP Butler, which provides a slightly less polished experience, hasn’t been updated in more than two years.

\n

WP Jump Menu is faster than all of the solutions above, but it doesn’t include WordPress admin menu items. Its somewhat clunky interface, anchored to the admin search bar, is almost forgivable given its speedy searching capabilities. However, WP Jump Menu is limited to searching user-generated content and isn’t designed for quickly jumping to admin menu items.

\n

\"wp-jump-menu\"

\n

WordPress Core Needs a Convenient Admin Search Experience

\n

The Search Initiative, which is currently an inactive feature plugin for WordPress core, essentially fell off the map in January 2014 after the feature failed to merge into WordPress 3.8 at the end of 2013. The project’s contributors no longer had time to devote to the plugin and its development has never regained the momentum it had in 2013.

\n

Nevertheless, there’s no doubt that WordPress users are eager to add some sort of global search capability to the admin. It’s a feature that helps mitigate the complexity of the admin when many custom post types are active and plugins add in their own menu items. The ability to search both content and menu items is beneficial to new and experienced users alike.

\n

Responses to Tsiamalos’ post on Aladdin indicate that users are willing to test and help refine any extension that demonstrates a convenient way of solving the admin search problem. Many disparate solutions have cropped up over the past few years and often the plugins’ creators were not aware of the other options before building their own.

\n

WordPress core improvement projects like the Search Initiative are led by volunteers and are at the mercy of contributors’ available time. That means there is no guarantee that the project will move forward to become a more elegant solution for tackling current issues with searching the admin. As with any open source project, it will take motivated folks to step forward to propose a new path forward.

\n

Admin search is a complex problem but one many plugin developers have found worthy of pursuit. If reception to the Aladdin plugin is any indication, WordPress users are ready to embrace an easier way of navigating the admin. A collaborative effort combining the best features all admin search attempts would make for an excellent feature plugin, as core contributors have already demonstrated interest in merging a solution with the right implementation to adequately serve WordPress users.

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WordPress 4.2.2 is now available. This is a critical security release for all previous versions and we strongly encourage you to update your sites immediately.

\n

Version 4.2.2 addresses two security issues:

\n\n

The release also includes hardening for a potential cross-site scripting vulnerability when using the visual editor. This issue was reported by Mahadev Subedi.

\n

Our thanks to those who have practiced responsible disclosure of security issues.

\n

WordPress 4.2.2 also contains fixes for 13 bugs from 4.2. For more information, see the release notes or consult the list of changes.

\n

Download WordPress 4.2.2 or venture over to Dashboard → Updates and simply click “Update Now.” Sites that support automatic background updates are already beginning to update to WordPress 4.2.2.

\n

Thanks to everyone who contributed to 4.2.2:

\n

Aaron Jorbin, Andrew Ozz, Andrew Nacin, Boone Gorges, Dion Hulse, Ella Iseulde Van Dorpe, Gary Pendergast, Hinaloe, Jeremy Felt, John James Jacoby, Konstantin Kovshenin, Mike Adams, Nikolay Bachiyski, taka2, and willstedt.

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WordPress 4.2.1 is now available. This is a critical security release for all previous versions and we strongly encourage you to update your sites immediately.

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A few hours ago, the WordPress team was made aware of a cross-site scripting vulnerability, which could enable commenters to compromise a site. The vulnerability was discovered by Jouko Pynnönen.

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WordPress 4.2.1 has begun to roll out as an automatic background update, for sites that support those.

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For more information, see the release notes or consult the list of changes.

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Download WordPress 4.2.1 or venture over to Dashboard → Updates and simply click “Update Now”.

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Version 4.2 of WordPress, named “Powell” in honor of jazz pianist Bud Powell, is available for download or update in your WordPress dashboard. New features in 4.2 help you communicate and share, globally.

\n
\n
\n

An easier way to share content

\n

\"PressClip it, edit it, publish it. Get familiar with the new and improved Press This. From the Tools menu, add Press This to your browser bookmark bar or your mobile device home screen. Once installed you can share your content with lightning speed. Sharing your favorite videos, images, and content has never been this fast or this easy.

\n
\n

Extended character support

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\"CharacterWriting in WordPress, whatever your language, just got better. WordPress 4.2 supports a host of new characters out-of-the-box, including native Chinese, Japanese, and Korean characters, musical and mathematical symbols, and hieroglyphs.

\n

Don’t use any of those characters? You can still have fun — emoji are now available in WordPress! Get creative and decorate your content with \"','no'),(27550,0,'_transient_timeout_feed_mod_a5420c83891a9c88ad2a4f04584a5efc','1434701665','no'),(27548,0,'_transient_timeout_feed_a5420c83891a9c88ad2a4f04584a5efc','1434701665','no'),(27549,0,'_transient_feed_a5420c83891a9c88ad2a4f04584a5efc','a:4:{s:5:\"child\";a:1:{s:0:\"\";a:1:{s:3:\"rss\";a:1:{i:0;a:6:{s:4:\"data\";s:3:\"\n

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 (Install)\n

Postpoll allows admin to set a poll of all or some of posts in the wordpress to vote.

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After many many years I changed the theme and reduced the number of plugins

\n

The post Chunk… new theme appeared first on alex.rabe.

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After many many years I changed the theme and reduced the number of plugins \":-)\"

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The post Chunk… new theme appeared first on alex.rabe.

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I’m upgraded since a month to Windows 8 and I tried to give it a real chance, but I need to say : It failed… I missed the start button, I hate the Modern UI, the App store is full of crap. Windows 8 is a mixture of good old Windows and iOS, but nobody […]

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The post Windows 8 failed appeared first on alex.rabe.

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I’m upgraded since a month to Windows 8 and I tried to give it a real chance, but I need to say : It failed… I missed the start button, I hate the Modern UI, the App store is full of crap. Windows 8 is a mixture of good old Windows and iOS, but nobody needs a mixture. Well, iOS is build on top of Mac OS, but it’s even _not_ a mixture of MacOS and just a couple of touch elements. It’s a pure Touch UI (same for Android).

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The Metro Modern UI try to combine both, but that doesn’t work for me. When I try change some settings in an App it’s sometimes hidden in the Charms bar, but the Control panel itself is a classic Windows styled UI, how awful must this work on the Surface Pro ? I often need 2-3 seconds to remind how I can go back to the Control panel, did you every try this when you work with a dual monitor setup (and work on the left monitor) ? Yes it works, but I missed often the upper edge.

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The app store could be a real benefit , better than Steam, better than the iOS App store, cause we have so many games played in the past on Windows, search for a good classic point and click adventure…. nothing. Ok, I admit, the store needs some more time. but I don’t need that tiny silly iOS games which I played on my first iPod Touch back again, not on a Full HD desktop PC (and please no more Star Trek Angry Birds). AND a simple mail/browser/calendar app program needs to be open instantly.

\n

My biggest issue : I need to work in my daily business with Windows 7 (Visual Studio will _never_ Metro / Modern / Touch UI friendly), so a switch between old/new UI is horrible when you return to your home computer. I missed the start button, I forgot about the Charms bar and other shortcuts…

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Microsoft should cut off (and even improve) the good old desktop UI from the Touch UI, both are ok, but both needs their own devices.

\n

The post Windows 8 failed appeared first on alex.rabe.

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Now a half year later…

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The post Slowdown appeared first on alex.rabe.

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Now a half year later…

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\"\"

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The post Slowdown appeared first on alex.rabe.

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I’m very proud and happy to announce that Photocrati, the biggest supporter of my Plugin NextGEN Gallery continue the further development. The people behind Photocrati themes support me in my work already a couple of years and finally we find some way how we can continue the success of this plugin. NextGEN Gallery is now […]

\n

The post Photocrati continue the NextGEN Gallery development appeared first on alex.rabe.

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I’m very proud and happy to announce that Photocrati, the biggest supporter of my Plugin NextGEN Gallery continue the further development. The people behind Photocrati themes support me in my work already a couple of years and finally we find some way how we can continue the success of this plugin.

\n

NextGEN Gallery is now more than 4 years old and with more than 5 million downloads the number one of all gallery addons for WordPress. WordPress is grown in the same time to the biggest blogging platform and the speed of development increased over the time. Unfortunately the day has still 24 hours and I’m just coding in my free time.

\n

With Photocrati in the background I hope this plugin can increase in functionality and features much faster than I can do. I’m very happy that my “baby” find it’s feet now…

\n

Let me thank to more than 1000 people who supported and donated to my work, without you this plugin would not be there. Thank you very much !

\n

The post Photocrati continue the NextGEN Gallery development appeared first on alex.rabe.

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Back from my ski trip, now back to work.

\n

The post Snow, snow, snow appeared first on alex.rabe.

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\"\"

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Back from my ski trip, now back to work.

\n

The post Snow, snow, snow appeared first on alex.rabe.

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WordPress Gallery Plugin

\n\n

NextGEN Gallery is the most popular WordPress gallery plugin, and one of the most popular WordPress plugins of all time, with over 10 million downloads.

\n\n

It provides a powerful engine for uploading and managing galleries of images, with the ability to batch upload, import meta data, add/delete/rearrange/sort images, edit thumbnails, group galleries into albums, and more. It also provides two front-end display styles (slideshows and thumbnail galleries), both of which come with a wide array of options for controlling size, style, timing, transitions, controls, lightbox effects, and more.

\n\n

The NextGEN Gallery WordPress gallery plugin is now proudly maintained by Photocrati Media. Special thanks to Alex Rabe who created and maintained NextGEN from 2007 through 2011.

\n\n

NEXTGEN GALLERY 2.0: MAJOR UPDATE IN JULY 2013. We released a major update and overhaul to NextGEN Gallery in July 2013. NextGEN Gallery 2.0 presents a completely reworked interface, both for the central options panel and for adding galleries to pages and posts. It\'s dramatically more powerful and flexible.

\n\n

INTRODUCING NEXTGEN GALLERY PRO. Along with NextGEN 2.0, we\'re happy to announce a \"Pro\" upgrade to NextGEN. NextGEN Pro offers 6 new gallery displays, including Pro Masonry, Pro Filmstrip, Pro Film, Pro Thumbnail Grid, Pro Slideshow, and Pro Blogstyle galleries. It also includes a responsive, fullscreen, mobile-friendly Pro Lightbox with commenting and social sharing for individual images within galleries. And it includes premium one-on-one email support for both NextGEN Gallery and NextGEN Pro.

\n\n

LEARN MORE ABOUT NEXTGEN PRO

\n\n

NextGEN WordPress Gallery Plugin Features

\n\n

Upload Galleries

\n\n\n\n

Manage Galleries

\n\n\n\n

Display Galleries

\n\n\n\n

NextGEN WordPress Gallery Plugin Community & Extensions

\n\n

NextGEN has been the dominant WordPress gallery plugin for years. As a result, there is large and great community of users and developers, as well as a large number of dedicated extension plugins. For a list of extension plugins, just search for NextGEN in the WordPress.org plugin repository, or visit our Complete List of NextGEN Extension Plugins.

\n\n

NextGEN WordPress Gallery Plugin Resources

\n\n

*Visit the NextGEN WordPress Gallery Plugin official homepage
\n*Visit the NextGEN Pro official landing page
\n*See NextGEN Gallery Documentation
\n*Get NextGEN Support via the WordPress.org forums
\n*Get Translations for your own language
\n*See WordPress Photography Themes by the same author
\n*Follow NextGEN Gallery on Facebook, Twitter, and Google +

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NextGEN Gallery Optimizer

\n\n

NextGEN Gallery Optimizer improves your site\'s page load speed by preventing NextGEN\'s scripts & stylesheets from loading on pages without galleries.

\n\n

Additionally...

\n\n

If you\'re using NextGEN 2.0, Optimizer provides you with complete granular control of the scripts and stylesheets that load on your gallery pages.

\n\n

For a live example of these settings in action, please view the source of Optimizer\'s homepage (a NextGEN 2.0 gallery page with AJAX pagination) in your browser.

\n\n

If you\'re using the original NextGEN Gallery (v1.6.2 and up) or the NextCellent Gallery fork, Optimizer will intelligently fine-tune all your gallery pages automatically... detecting every shortcode and setting to only load what\'s necessary.

\n\n

For a full overview of the optimization process, please see...
\nhttp://www.nextgengalleryoptimizer.com/optimization-flowcharts/.

\n\n

Optimizer also includes an enhanced version of the fantastic Fancybox lightbox script, and only loads it on gallery pages. The result? Gorgeous galleries and a speedy site.

\n\n

Optimizer v2.0 now supports NextGEN 2.0, NextGEN Legacy and the NextCellent Gallery fork.

\n\n

NextGEN Gallery Optimizer Pro

\n\n

Upgrade to Optimizer Pro for the new NextGEN Gallery Deactivator feature.
\nA whole new level of speed optimization that only loads NextGEN’s code on gallery pages.

\n\n

Upgrade to Optimizer Pro for the new Dynamic Fancybox Settings Interface.
\nThe fastest and easiest way to customize Fancybox.
\nSet title styles, background color and opacity, make Fancybox responsive and more.

\n\n

For more information, please see the following...
\nhttp://www.nextgengalleryoptimizer.com/
\nhttp://www.nextgengalleryoptimizer.com/documentation/
\nhttp://www.nextgengalleryoptimizer.com/purchase/

\n\n

Key features:

\n\n
    \n
  1. Improves your site\'s page load speed when using NextGEN Gallery.
    2. \n
  2. Prevents NextGEN\'s scripts and styles from loading on non-gallery pages.
    3. \n
  3. Additionally fine-tunes NextGEN\'s scripts and styles on gallery pages.
    4. \n
  4. Lets you easily install an enhanced Fancybox to display your images in style.
    5. \n
\n\n

NEW in Version 2.0:

\n\n
    \n

  1. Now optimizes the new NextGEN v2.0.xx codebase, and the new NextGEN Legacy fork called NextCellent Gallery.

    2. \n

  2. Completely rewritten utilizing class encapsulation, and with a strong focus on WordPress coding standards and best practices.

    3. \n

  3. Virtually all of Optimizer\'s former Premium functionality for NextGEN Legacy is now included in the Basic version here at the WordPress repository.

    4. \n

  4. Completely rounds out support for all features and options available in NextGEN Legacy (and the NextCellent Gallery fork).

    5. \n

  5. Optimizer Pro is introduced, including the all new NextGEN Gallery Deactivator feature, and the Dynamic Fancybox Settings Interface.

    6. \n

  6. Optimizer\'s website is introduced.

    7. \n
\n\n

Please view the changelog for the full list of improvements and additions.

\n\n

NEW in Version 1.1.2:

\n\n
    \n
  1. Tested compatible with WordPress 3.5 (Basic and Premium)
    2. \n
  2. Latest Google-hosted jQuery 1.8.3 to match new WP version (Basic and Premium)
    3. \n
  3. New admin notifications to assist with NextGEN installation (Basic and Premium)
    4. \n
  4. Improvements to Optimizer\'s automatic Fancybox installation (Basic and Premium)
    5. \n
\n\n

This release brings us up to date with WordPress 3.5, and features a number of additions and refinements to improve user experience. These include new admin notifications to assist users who don\'t have the required NextGEN Gallery plugin installed and activated, new step-by-step installation instructions via the WordPress admin (to ensure the correct file ownership and permissions are set), a streamlined settings page, and improvements to Optimizer\'s automatic Fancybox installation.

\n\n

NEW in Version 1.1.1:

\n\n
    \n
  1. Dynamic messaging for admins on unsupported shortcodes (Basic)
    2. \n
  2. Checks to ensure jQuery isn\'t being deregistered (Basic and Premium)
    3. \n
  3. Includes blank index.php files for enhanced security (Basic and Premium)
    4. \n
\n\n

This release aims to improve communication between Optimizer and end-users, including dynamic messaging for admins on unsupported shortcodes, and a clever regex that detects and alerts you if your theme (or child-theme) is deregistering jQuery...which causes Fancybox to break. Additionally, security is enhanced with the addition of blank index.php files in each folder, preventing bots from scanning your server\'s directory tree.

\n\n

NEW in Version 1.1 (first major release):

\n\n
    \n
  1. Fancybox title now included in image height calculations (Basic and Premium)
    2. \n
  2. New options: WordPress\'s included jQuery or go Google-hosted (Basic and Premium)
    3. \n
  3. Support for the Thickbox effect (Basic and Premium)
    4. \n
  4. Support for the Shutter effect (Basic and Premium)
    5. \n
  5. Support for JW Image Rotator slideshow integration (Premium)
    6. \n
  6. Support for AJAX pagination on [imagebrowser id=x] (reqs. Shutter) (Premium)
    7. \n
  7. Fancybox gets extra fancy...auto-resizes when the browser is resized (Premium)
    8. \n
\n\n

This first major release for Optimizer sees a number of new additions and features...\nFancybox now includes space for a single-line title in its image height calculations, vastly improving vertical alignment of the lightbox. Also, Optimizer now lets you choose between using WordPress\'s included jQuery (for greater compatibility), or the Google-hosted version (for faster page loads). Support for the Thickbox and Shutter effects has also been added thanks to user requests.

\n\n

On top of this, the Premium version now includes AJAX pagination when using Shutter on the [imagebrowser id=x] shortcode, supports the JW Image Rotator for slideshows and features a super-fancy, auto-resize function that resizes Fancybox when the browser window is resized!

\n\n

NEW in Version 1.0.8:

\n\n
    \n
  1. Tested fully-compatible with WordPress 3.4 (Basic and Premium)
    2. \n
  2. Improved compatibility with other plugins and themes (Basic and Premium)
    3. \n
  3. Display fix for Fancybox when no title is available (Basic and Premium)
    4. \n
  4. Latest jQuery 1.7.2 (Basic and Premium)
    5. \n
\n\n

This version adds the jQuery.noConflict(); method for improved compatibility with plugins and themes using other javascript libraries/frameworks including script.aculo.us, Prototype and MooTools. It also includes a fix for Fancybox/NextGEN Gallery integration where a small white line would appear underneath the lightbox when no title was set.

\n\n

NEW in Version 1.0.7:

\n\n
    \n
  1. Improved compatibility with other scripts and plugins. (Basic and Premium)
    2. \n
  2. Minor bug fix in admin message. (Basic and Premium)
    3. \n
\n\n

This version enhances compatibility with other plugins and includes a few minor improvements.

\n\n

NEW in Version 1.0.6:

\n\n
    \n
  1. Fully-automated Fancybox installation! (Basic and Premium)
    2. \n
\n\n

This version features completely automated Fancybox integration with NextGEN Gallery, so now you can be up and running even faster.

\n\n

NEW in Version 1.0.5:

\n\n
    \n
  1. Precision matching with WordPress\'s built-in shortcode finder.
    2. \n
  2. NextGEN Gallery Optimizer Premium (an optional upgrade for a small donation).
    3. \n
\n\n

This version uses WordPress\'s native get_shortcode_regex() function for EXACT shortcode matching, ensuring scripts and styles don\'t load unexpectedly unless the FULL shortcode is present. If WordPress doesn\'t detect a shortcode, neither do we!

\n\n

Also, this update introduces the new NextGEN Gallery Optimizer Premium version, which adds support for ALL TEN of NextGen\'s shortcodes, support for the [show as slideshow] link, the removal of NextGEN\'s version number comment and more.

\n\n

NEW in Version 1.0.4:

\n\n
    \n
  1. Easier set up
    2. \n
\n\n

This version automatically redirects first time users to the options page on activation and sets a default stylesheet for easier set up.

\n\n

NEW in Version 1.0.3:

\n\n
    \n
  1. Optimized code for better compatibility and page load speed
    2. \n
  2. Improved settings page
    3. \n
\n\n

This update results in faster page loads on gallery pages by avoiding duplicate scripts. It reduces the chance of conflicts with other plugins and makes setting up Fancybox even easier.

\n\n

NEW in Version 1.0.2:

\n\n
    \n
  1. Support for WordPress Pages
    2. \n
  2. Fancybox overlap fix
    3. \n
  3. Fix for Fancybox not working in IE6 & IE8
    4. \n
  4. Latest JQuery
    5. \n
\n\n

This update lets you display galleries on both Posts AND Pages in style, but only load code when they\'re present.

\n\n

It also fixes an issue where some page elements overlap Fancybox and prevent the close button from functioning (in particular the title text, header image and menu bar in Twenty Eleven).

\n\n

It fixes the \"Fancybox not working in IE6 & IE8\" issue by automatically updating the Fancybox stylesheet to use the correct file paths, and we\'re now running Fancybox on JQuery version 1.7.1, resulting in faster page loads where galleries are present.

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1.9.23 - 24/09/2014

\n\n

What\'s in it for you?

\n\n\n\nVERY IMPORTANT: Read ON!\n\n

NextCellent Gallery provides backward compatibility for older NextGEN until version 1.9.13 .

\n\n\n\n

What is Nextcellent?

\n\n\n\n

What do you get with NextCellent Gallery?

\n\n\n\n

Being said that, here are the usual classic features:

\n\n

NextCellent Gallery provides a powerful engine for uploading and managing galleries of images, with the ability to batch upload, import meta data, add/delete/rearrange/sort images, edit thumbnails, group galleries into albums, and more. It also provides two front-end display styles (slideshows and thumbnail galleries), both of which come with a wide array of options for controlling size, style, timing, transitions, controls, lightbox effects, and more.

\n\n

NextCellent WordPress Gallery Plugin Features

\n\n

Upload Galleries

\n\n\n\n

Manage Galleries

\n\n\n\n

Display Galleries

\n\n\n\n

NextCellent WordPress Gallery Plugin Community & Extensions

\n\n

NextGEN has been the dominant WordPress gallery plugin for years. \nBeing said that, NextCellent will provide backward compatibility for NextGEN 1.9.13 and it will evolve according user requirements.

\n\n

As a result, there is large and great community of users and developers, as well as a large number of dedicated extension plugins. For a list of extension plugins, just search for NextGEN in the WordPress.org plugin repository, or visit our Complete List of NextGEN Extension Plugins.

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The NextGEN Public Uploader plugin for WordPress allows users to upload images from the frontend of your website to a specified gallery in NextGEN. Upon upload the submitted image is marked as \"excluded\" and an email notification will be sent letting you know an image is waiting to be reviewed.

\n\n

REMEMBER: Always backup your database!

\n\n

NextGEN Public Uploader is an extension of NextGEN Gallery

\n\n

NextGEN Gallery

\n\n

Special thanks to Patrick McCoy for his help.

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\n\n\n

Make sure social websites present your content in the best possible way, no matter how your webpage is shared — from sharing buttons on the webpage, browser add-ons and extensions, or URLs pasted directly on social websites.

\n\n

NextGEN Facebook (NGFB) gives you total control over the information social websites need, improving Google Search ranking, social engagement, and click-through-rates on Facebook, Google+, Twitter, Pinterest, LinkedIn, StumbleUpon, Tumblr and and many more — along with offering many of the most popular social sharing buttons!

\n\n

You can download the Free version of NGFB on WordPress.org and purchase Pro license(s) on SurniaUlula.com (includes a No Risk 30 Day Refund Policy).

\n\n\n\n

Quick List of Features

\n\n

Free / Basic Version

\n\n\n\n
\n

Don\'t need the sharing buttons?

\n\n

Have a look at the WordPress Social Sharing Optimization (WPSSO) plugin — a fork (aka child) of NextGEN Facebook (NGFB). They have the same author, many of the same excellent features, but WPSSO is distributed without the sharing buttons and their related features (shortcodes, widgets, stylesheets, javascript caching, and url shortening). As a result, WPSSO is 25% smaller and is often preferred for websites that already have (or don\'t need) a set of sharing buttons.

\n\n

Additional extension plugins are also available for WPSSO, including:\n

\n
\n\n

Pro / Power-User Version

\n\n\n\n

Looking for the Pro version? You can purchase Pro license(s) here to update the Free version quickly and easily.

\n\n

3rd Party Integration

\n\n

Aside from the additional support for Twitter Cards, the main difference between the Free and Pro versions is the integration of 3rd party plugins and services.

\n\n

Images and Videos

\n\n

NGFB detects and uses all images - associated or included in your Post or Page content - including WordPress image galleries. WordPress Media Library images (and NextGEN Gallery in the Pro version) are resized according to their intended audience (Facebook, Twitter, Pinterest, etc). The Pro version also detects embedded videos from Slideshare, Vimeo, Wistia, and Youtube (including their preview images).

\n\n

NGFB (Pro version) also includes support for JetPack Photon and NextGEN Gallery v1 and v2 albums, galleries and images (shortcodes, image tags, album / gallery preview images, etc.).

\n\n

Enhanced SEO

\n\n

NGFB (Pro version) integrates with WordPress SEO by Yoast, All in One SEO Pack, and HeadSpace2 SEO — making sure your custom SEO settings are reflected in the Open Graph, Rich Pin, and Twitter Card meta tags.

\n\n

eCommerce Products

\n\n

WPSSO (Pro version) also supports Easy Digital Downloads, MarketPress - WordPress eCommerce, WooCommerce v1 and v2, and WP e-Commerce product pages, creating appropriate meta tags for Facebook Products, Twitter Product Cards and Pinterest Rich Pins, including variations and additional / custom images.

\n\n

Forums and Social

\n\n

NGFB (Pro version) supports bbPress and BuddyPress (see the BuddyPress Integration Notes), making sure your meta tags reflect the page content, including appropriate titles, descriptions, images, etc. Social sharing buttons can also be added to bbPress single template pages and BuddyPress activities.

\n\n

Social Sharing Buttons

\n\n

NGFB comes with several sharing buttons, that you can optionally include on Post / Page editing pages, above / below your content or excerpt, bbPress single pages, BuddyPress activity entries, as a sidebar, widget, shortcode, or even call a function from your theme template(s). Each of the following sharing buttons can be enabled, configured, and styled individually:

\n\n\n\n

The Facebook, Google+ and Twitter sharing buttons support multiple languages. A default language can be chosen in the NGFB settings, and the Pro version switches the sharing button language with the webpage language / WordPress locale. NGFB can also include hashtags from WordPress and NextGEN Gallery tag names in the Open Graph (Facebook) and Pinterest Rich Pin descriptions, Tweet text, and other social captions.

\n\n
\n

Don\'t need the sharing buttons?

\n\n

Have a look at the WordPress Social Sharing Optimization (WPSSO) plugin — a fork (aka child) of NextGEN Facebook (NGFB). They have the same author, many of the same excellent features, but WPSSO is distributed without the sharing buttons and their related features (shortcodes, widgets, stylesheets, javascript caching, and url shortening). As a result, WPSSO is 25% smaller and is often preferred for websites that already have (or don\'t need) a set of sharing buttons.

\n\n

Additional extension plugins are also available for WPSSO, including:\n

\n
\n\n

Custom Contacts

\n\n

NGFB (Pro version) allows you to customize the field names, label, and show/remove the following contacts from the user profile page:

\n\n\n\n

Complete Meta Tags

\n\n

NGFB adds Open Graph (Facebook), Pinterest Rich Pins, Twitter Cards, and Search Engine Optimization meta tags to the head section of webpages. These meta tags are used by Google Search and most social websites to describe and display your content correctly (title, description, hashtags, images, videos, product, author profile / authorship, publisher, etc.). NGFB is a complete social sharing solution that uses the existing content of your webpages to build HTML meta tags — There\'s no need to manually enter / configure any additional values or settings (although many settings and options are available). See examples from Google Search, Google+, Facebook, Twitter, Pinterest, StumbleUpon, Tumblr, etc. — along with screenshots of the NGFB settings pages.

\n\n

NGFB (Pro version) provides the Summary, Large Image Summary, Photo, Gallery, Player and Product Twitter Cards — including configurable image sizes for each card type.

\n\n\n\n

Proven Performance

\n\n

NGFB is fast and coded for performance, making full use of all available caching techniques (persistent / non-persistent object and disk caching). NGFB loads only the library files and object classes it needs, keeping it small, fast, and yet still able to support a wide range of 3rd party integration features.

\n\n
\n

How Fast is NGFB?

\n\n

Very Fast. A few example metrics from the P3 (Plugin Performance Profiler) plugin, using WP Test Data, and the default settings of several popular plugins, along with the WordPress Core and Twenty Fourteen theme for reference:

\n\n\n\n

Benchmarks were executed on dedicated hardware, using an APC opcode/object cache, WordPress v3.9.1, and P3 v1.5.1 configured with opcode optimization enabled (improves accuracy).

\n
\n\n

Clean Uninstall

\n\n

Try the NGFB plugin with complete confidence — when uninstalled, NGFB removes all traces of itself from the database (options, site options, user and post meta, transients, etc.).

\n\n

Great Support

\n\n

NGFB support and development is on-going. You can review the FAQ and Notes pages for additional setup information. If you have any suggestions or comments, post them to the WordPress support forum or the Pro version support website.

\n\n

Follow Surnia Ulula on Google+, Facebook, Twitter, and YouTube.

\";s:17:\"short_description\";s:132:\"Display your content in the best possible way on Facebook, Google+, Twitter, Pinterest, etc. - no matter how your webpage is shared!\";}i:5;O:8:\"stdClass\":15:{s:4:\"name\";s:39:\"Responsive NextGEN Flex Slider Template\";s:4:\"slug\";s:28:\"nextgen-flex-slider-template\";s:7:\"version\";s:3:\"1.7\";s:6:\"author\";s:52:\"Mohsin Rasool\";s:14:\"author_profile\";s:37:\"//profiles.wordpress.org/mohsinrasool\";s:12:\"contributors\";a:1:{s:12:\"mohsinrasool\";s:37:\"//profiles.wordpress.org/mohsinrasool\";}s:8:\"requires\";s:5:\"3.0.1\";s:6:\"tested\";s:5:\"3.5.2\";s:13:\"compatibility\";a:7:{s:5:\"3.4.2\";a:4:{s:3:\"1.0\";a:3:{i:0;i:100;i:1;i:1;i:2;i:1;}s:5:\"1.0.1\";a:3:{i:0;i:100;i:1;i:1;i:2;i:1;}s:3:\"1.1\";a:3:{i:0;i:100;i:1;i:1;i:2;i:1;}s:3:\"1.6\";a:3:{i:0;i:100;i:1;i:1;i:2;i:1;}}s:3:\"3.5\";a:4:{s:5:\"1.0.1\";a:3:{i:0;i:100;i:1;i:1;i:2;i:1;}s:3:\"1.1\";a:3:{i:0;i:50;i:1;i:2;i:2;i:1;}s:3:\"1.2\";a:3:{i:0;i:100;i:1;i:3;i:2;i:3;}s:3:\"1.3\";a:3:{i:0;i:100;i:1;i:1;i:2;i:1;}}s:5:\"3.5.1\";a:2:{s:3:\"1.4\";a:3:{i:0;i:100;i:1;i:1;i:2;i:1;}s:3:\"1.6\";a:3:{i:0;i:100;i:1;i:1;i:2;i:1;}}s:5:\"3.5.2\";a:1:{s:3:\"1.7\";a:3:{i:0;i:100;i:1;i:1;i:2;i:1;}}s:3:\"3.6\";a:1:{s:3:\"1.7\";a:3:{i:0;i:100;i:1;i:1;i:2;i:1;}}s:5:\"3.8.1\";a:1:{s:3:\"1.7\";a:3:{i:0;i:0;i:1;i:1;i:2;i:0;}}s:3:\"4.0\";a:1:{s:3:\"1.1\";a:3:{i:0;i:100;i:1;i:1;i:2;i:1;}}}s:6:\"rating\";d:82;s:11:\"num_ratings\";i:10;s:7:\"ratings\";a:5:{i:5;i:7;i:4;i:1;i:3;i:0;i:2;i:0;i:1;i:2;}s:8:\"homepage\";s:68:\"http://wpdevsnippets.com/nextgen-flex-image-content-slider-template/\";s:11:\"description\";s:3604:\"

This plugin adds \"sliderview\" template for the NextGen gallery. Use the shortcode [nggallery id=x template=\"sliderview\"] to display images as the slider. You can visit Settings -> NextGen Slider to select theme, toggle between image and content slider and change width of the image or content area.

\n\n

If you are not sure how to set up this slider please read our tutorial on creating and using gallery templates

\n\n

Documentation | Support

\n\n

Note: It requires NextGen Gallery plugin that can be downloaded from http://wordpress.org/extend/plugins/nextgen-gallery.

\n\n

Note: Due to time constraints, I am not able to update or fix issues. So, I decided to host it on GitHub. If anyone fixes an issue, please take time to update the repository. Thanks\nNextGEN Flex Slider Template

\n\n

Attributes

\n\n

These will work only when shortcode is used on post/page contents.

\n\n
theme: \n(string) (optional) Theme of the slider\nPossible Values: \'black\', \'blue\' or \'grey\'\n\ndisplay_content: \n(boolean) (optional) Toggle between content and image slider. \nPossible Values: 0 or 1\n\norder: \n(string) (optional) Select order of the images. \nPossible Values: empty or \"random\"\n\nslideshow_speed: \n(numeric) (optional) Delay in animation \nPossible Values: Any numeric value\n\ndirection_nav: \n(boolean) (optional) Enable or disable next/prev navigation arrows\nPossible Values: 0 or 1\n\npagination: \n(boolean) (optional) Enable or disable pagination bullets at bottom\nPossible Values: 0 or 1\n\nimage_width: \n(string) (optional) Set width of the images\nPossible Values: 100px or 100% or 80% etc\n\ntext_width: \n(string) (optional) Set width of the content area (in case of content slider)\nPossible Values: 100px or 20% etc\n\nlink_title: \n(boolean) (optional) Enable or disable whether title should be linked or not (for content slider). Please follow [this tutorial](http://wpdevsnippets/linking-image-and-title-nextgen-flex-slider-template \"Linking Flex Sliders\") to set it up\nPossible Values: 0 or 1\n\nlink_image: \n(boolean) (optional) Enable or disable whether image should be linked or not. Please follow [this tutorial](http://wpdevsnippets/linking-image-and-title-nextgen-flex-slider-template \"Linking Flex Sliders\") to set it up\nPossible Values: 0 or 1\n\nlink_new_window: \n(boolean) (optional) Enable to open slider url to be opened in a new window. Please follow [this tutorial](http://wpdevsnippets/linking-image-and-title-nextgen-flex-slider-template \"Linking Flex Sliders\") to set it up\nPossible Values: 0 or 1\n\nbackground: \n(string) (optional) Set background color of the slider \nPossible Values: Any valid HTML Code. #fff or #23423f or white or black \n\nuse_width_for_img_slider: \n(boolean) (optional) To use the specifed img_width for image slider too.\nPossible Values: 0 or 1\n\ndisable_img_stretching: \n(boolean) (optional) Images in image slider are set to 100% width which may cause stretch for small or portrait size images. Please enable this option to fix it.\nPossible Values: 0 or 1\n
\";s:17:\"short_description\";s:124:\"Adds "sliderview" template for the NextGen gallery. Use the shortcode [nggallery id=x template="sliderview"]\";}i:6;O:8:\"stdClass\":15:{s:4:\"name\";s:52:\"Advanced Custom Fields: NextGEN Gallery Field add-on\";s:4:\"slug\";s:51:\"advanced-custom-fields-nextgen-gallery-field-add-on\";s:7:\"version\";s:3:\"2.1\";s:6:\"author\";s:69:\"Ales Loziak, Robert Kleinschmager\";s:14:\"author_profile\";s:32:\"//profiles.wordpress.org/aloziak\";s:12:\"contributors\";a:4:{s:7:\"aloziak\";s:32:\"//profiles.wordpress.org/aloziak\";s:8:\"Omicron7\";s:33:\"//profiles.wordpress.org/omicron7\";s:11:\"barclay_reg\";s:36:\"//profiles.wordpress.org/barclay_reg\";s:7:\"jayque9\";s:32:\"//profiles.wordpress.org/jayque9\";}s:8:\"requires\";s:13:\"3.0 or higher\";s:6:\"tested\";s:5:\"4.1.0\";s:13:\"compatibility\";a:4:{s:5:\"3.3.2\";a:1:{s:5:\"1.0.2\";a:3:{i:0;i:100;i:1;i:2;i:2;i:2;}}s:5:\"3.4.1\";a:3:{s:5:\"1.1.2\";a:3:{i:0;i:50;i:1;i:2;i:2;i:1;}s:3:\"1.2\";a:3:{i:0;i:100;i:1;i:1;i:2;i:1;}s:5:\"1.2.1\";a:3:{i:0;i:100;i:1;i:1;i:2;i:1;}}s:5:\"3.5.2\";a:1:{s:5:\"1.2.1\";a:3:{i:0;i:0;i:1;i:2;i:2;i:0;}}s:5:\"3.6.1\";a:1:{s:5:\"1.2.1\";a:3:{i:0;i:0;i:1;i:1;i:2;i:0;}}}s:6:\"rating\";d:55.599999999999994315658113919198513031005859375;s:11:\"num_ratings\";i:9;s:7:\"ratings\";a:5:{i:5;i:4;i:4;i:0;i:3;i:0;i:2;i:0;i:1;i:5;}s:8:\"homepage\";s:88:\"http://wordpress.org/extend/plugins/advanced-custom-fields-nextgen-gallery-field-add-on/\";s:11:\"description\";s:1968:\"

This is an add-on for the Advanced Custom Fields WordPress plugin and will not provide any functionality to WordPress unless advanced Custom Fields is installed and activated.

\n\n

The NextGEN Gallery field provides a dropdown (select or multi-select) of NextGEN Gallery names (galleries and albums) and the ability to map the selected NextGEN Gallery to the post.\nThe get_value() API returns an array of the selected NextGEN Gallery IDs and the form – album or gallery.

\n\n

Support ACF5 Pro, ACF4, ACF3, NextCellent Gallery - NextGEN Legacy.

\n\n

!!! Version 1.1 !!! \nThis version changes get_value() API returned value. You must change your template files. !!!

\n\n

The get_value() API returns a following array:

\n\n
Array (\n    [0] => Array (\n        [ngg_id] => 8  ( NextGEN Gallery 'gallery' or 'album' ID )\n        [ngg_form] => gallery  ( 'gallery' or 'album' )\n    )\n)
\n\n

Example

\n\n

These examples should show a NextGEN Gallery gallery or NextGEN Gallery album.

\n\n

For version 1.1 and later

\n\n
<?php\n    foreach ( get_field ( 'nextgen_gallery_id' ) as $nextgen_gallery_id ) :\n        if ( $nextgen_gallery_id['ngg_form'] == 'album' ) {\n            echo nggShowAlbum( $nextgen_gallery_id['ngg_id'] ); //NextGEN Gallery album\n        } elseif ( $nextgen_gallery_id['ngg_form'] == 'gallery' ) {\n             echo nggShowGallery( $nextgen_gallery_id['ngg_id'] ); //NextGEN Gallery gallery\n        }\n    endforeach;\n?>
\n\n

For version 1.0.2 and earlier

\n\n
<?php\n    foreach (get_field ('portfolio_nextgen_gallery_id') as $nextgen_gallery_id) :\n        echo nggShowGallery( $nextgen_gallery_id );\n    endforeach;\n?>
\";s:17:\"short_description\";s:121:\"Adds a NextGEN Gallery Field to Advanced Custom Fields. Select one or more NextGEN Galleries and assign them to the post.\";}i:7;O:8:\"stdClass\":15:{s:4:\"name\";s:22:\"NextGEN Scroll Gallery\";s:4:\"slug\";s:21:\"nextgen-scrollgallery\";s:7:\"version\";s:5:\"1.8.2\";s:6:\"author\";s:57:\"Benedikt Morschheuser\";s:14:\"author_profile\";s:35:\"//profiles.wordpress.org/bmodesign2\";s:12:\"contributors\";a:1:{s:10:\"bmodesign2\";s:35:\"//profiles.wordpress.org/bmodesign2\";}s:8:\"requires\";s:3:\"3.1\";s:6:\"tested\";s:5:\"3.2.2\";s:13:\"compatibility\";a:1:{s:5:\"3.3.1\";a:5:{s:5:\"1.7.7\";a:3:{i:0;i:50;i:1;i:2;i:2;i:1;}s:5:\"1.7.8\";a:3:{i:0;i:100;i:1;i:4;i:2;i:4;}s:5:\"1.8.0\";a:3:{i:0;i:83;i:1;i:12;i:2;i:10;}s:5:\"1.8.1\";a:3:{i:0;i:100;i:1;i:2;i:2;i:2;}s:5:\"2.0.0\";a:3:{i:0;i:22;i:1;i:9;i:2;i:2;}}}s:6:\"rating\";d:81;s:11:\"num_ratings\";i:100;s:7:\"ratings\";a:5:{i:5;i:61;i:4;i:18;i:3;i:3;i:2;i:1;i:1;i:17;}s:8:\"homepage\";s:88:\"http://software.bmo-design.de/scrollgallery/wordpress-plugin-nextgen-scroll-gallery.html\";s:11:\"description\";s:1538:\"

Nextgen Scroll Gallery: A Wordpress Plugin that allows you to use the awesome Mootools ScrollGallery from BMo-design on your NextGen-Gallery galleries.

\n\n

If you want to to use this Plugin on your blog, you need to use the very cool Wordpress gallery manager: NextGen Gallery. So install the NextGENeration Gallery Plugin and upload some pictures. Copy the \'[scrollGallery id=xxx]\' tag in your post an replace \'xxx\' with the NextGEN Gallery id, for example with 1.

\n\n

After the installation, you will find an admin interface, with which you can adjust the plugin settings.

\n\n

This gallery do not use flash, so no extra browser plugin is required and search engines can crawl your content easily.

\n\n

If you have some questions or you need instructions look at BMo-Design - Nextgen Scroll Gallery. There you will find instructions and discussions, which can help you.

\n\n

If you want a special adaptation to the needs of your page, you can commission me at BMo-Design.

\n\n

This is stable version 1.8.0. Since the code of NextGEN Gallery was massivly changed in version 2.0.X, I decided to develop a new version of my plugin. You can download it at http://wordpress.org/plugins/bmo-expo/.

\";s:17:\"short_description\";s:131:\"Awesome free JavaScript gallery. BMo-Design's Mootools Javascript ScrollGallery as a Plugin for the Wordpress NextGEN Gallery.\";}i:8;O:8:\"stdClass\":15:{s:4:\"name\";s:47:\"NextGEN 3D and 2D Animated Flux Slider Template\";s:4:\"slug\";s:31:\"nextgen-3d-flux-slider-template\";s:7:\"version\";s:5:\"1.1.1\";s:6:\"author\";s:52:\"Mohsin Rasool\";s:14:\"author_profile\";s:37:\"//profiles.wordpress.org/mohsinrasool\";s:12:\"contributors\";a:1:{s:12:\"mohsinrasool\";s:37:\"//profiles.wordpress.org/mohsinrasool\";}s:8:\"requires\";s:5:\"3.0.1\";s:6:\"tested\";s:5:\"3.5.2\";s:13:\"compatibility\";a:3:{s:3:\"3.5\";a:2:{s:3:\"1.0\";a:3:{i:0;i:100;i:1;i:1;i:2;i:1;}s:5:\"1.0.1\";a:3:{i:0;i:100;i:1;i:1;i:2;i:1;}}s:5:\"3.5.1\";a:1:{s:5:\"1.1.1\";a:3:{i:0;i:100;i:1;i:1;i:2;i:1;}}s:5:\"3.8.1\";a:1:{s:5:\"1.1.1\";a:3:{i:0;i:100;i:1;i:1;i:2;i:1;}}}s:6:\"rating\";d:100;s:11:\"num_ratings\";i:4;s:7:\"ratings\";a:5:{i:5;i:4;i:4;i:0;i:3;i:0;i:2;i:0;i:1;i:0;}s:8:\"homepage\";s:68:\"http://wpdevsnippets.com/nextgen-3d-2d-animated-flux-slider-template\";s:11:\"description\";s:1654:\"

This plugin add a \"3dfluxsliderview\" template for the NextGen gallery. Use the shortcode [nggallery id=x template=\"3dfluxsliderview\"] to display images as the slider. This plugin uses CSS3 transitions for animation. That are now supported by latest browsers that includes Chrome 4.0+, Safari 3.1+, Firefox 4+, Opera 10.5+, iOS and Andriod Browsers. Full chart of compatibility can be viewed at CanIUse.com.

\n\n

This plugin supports following 2D and 3D animations that can be toggled from setting’s page, You can use any one of it or all of it:

\n\n\n\n

You can also toggle bullet pagination, next/prev arrows and image captions.

\n\n

If you are not sure how to set up this slider please check our tutorial on creating and using gallery templates

\n\n

Please note few things about this plugin:

\n\n\";s:17:\"short_description\";s:120:\"CSS3 animated 3D and 2D transitions. Use [nggallery id=x template="3dfluxsliderview"] for a cool animated slider\";}i:9;O:8:\"stdClass\":15:{s:4:\"name\";s:24:\"NextGEN Download Gallery\";s:4:\"slug\";s:24:\"nextgen-download-gallery\";s:7:\"version\";s:5:\"1.4.4\";s:6:\"author\";s:46:\"WebAware\";s:14:\"author_profile\";s:33:\"//profiles.wordpress.org/webaware\";s:12:\"contributors\";a:1:{s:8:\"webaware\";s:33:\"//profiles.wordpress.org/webaware\";}s:8:\"requires\";s:5:\"3.2.1\";s:6:\"tested\";s:3:\"4.1\";s:13:\"compatibility\";a:12:{s:5:\"3.4.2\";a:1:{s:5:\"1.1.0\";a:3:{i:0;i:100;i:1;i:2;i:2;i:2;}}s:5:\"3.5.1\";a:1:{s:5:\"1.2.1\";a:3:{i:0;i:100;i:1;i:1;i:2;i:1;}}s:5:\"3.5.2\";a:1:{s:5:\"1.2.2\";a:3:{i:0;i:100;i:1;i:1;i:2;i:1;}}s:3:\"3.6\";a:2:{s:5:\"1.3.0\";a:3:{i:0;i:100;i:1;i:1;i:2;i:1;}s:5:\"1.3.1\";a:3:{i:0;i:100;i:1;i:1;i:2;i:1;}}s:3:\"3.8\";a:1:{s:5:\"1.3.1\";a:3:{i:0;i:50;i:1;i:2;i:2;i:1;}}s:5:\"3.8.1\";a:1:{s:5:\"1.3.1\";a:3:{i:0;i:100;i:1;i:4;i:2;i:4;}}s:3:\"3.9\";a:1:{s:5:\"1.3.1\";a:3:{i:0;i:100;i:1;i:1;i:2;i:1;}}s:5:\"3.9.1\";a:3:{s:5:\"1.3.1\";a:3:{i:0;i:100;i:1;i:1;i:2;i:1;}s:5:\"1.4.0\";a:3:{i:0;i:100;i:1;i:1;i:2;i:1;}s:5:\"1.4.1\";a:3:{i:0;i:100;i:1;i:1;i:2;i:1;}}s:5:\"3.9.2\";a:1:{s:5:\"1.4.1\";a:3:{i:0;i:100;i:1;i:1;i:2;i:1;}}s:3:\"4.0\";a:4:{s:5:\"1.4.1\";a:3:{i:0;i:100;i:1;i:1;i:2;i:1;}s:5:\"1.4.2\";a:3:{i:0;i:100;i:1;i:1;i:2;i:1;}s:5:\"1.4.3\";a:3:{i:0;i:100;i:1;i:1;i:2;i:1;}s:5:\"1.4.4\";a:3:{i:0;i:100;i:1;i:2;i:2;i:2;}}s:5:\"4.0.1\";a:1:{s:5:\"1.4.4\";a:3:{i:0;i:100;i:1;i:1;i:2;i:1;}}s:3:\"4.1\";a:1:{s:5:\"1.4.4\";a:3:{i:0;i:100;i:1;i:1;i:2;i:1;}}}s:6:\"rating\";d:98;s:11:\"num_ratings\";i:10;s:7:\"ratings\";a:5:{i:5;i:9;i:4;i:1;i:3;i:0;i:2;i:0;i:1;i:0;}s:8:\"homepage\";s:63:\"http://shop.webaware.com.au/downloads/nextgen-download-gallery/\";s:11:\"description\";s:1688:\"

Add a template to NextGEN Gallery that provides multiple-file downloads for trade/media galleries. NextGEN Gallery is one of the best gallery plugins for WordPress because it is very flexible and has a nice, simple admin. This plugin adds a new gallery template that lets you select multiple images from the gallery to be downloaded as a ZIP archive.

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NB: the Photocrati version of NextGEN Gallery can impact the performance of your server, and not all of the old plugin\'s functionality works. You might want to consider using NextCellent Gallery instead -- it\'s a fork of the original NextGEN Gallery with continued support and compatibility, without the performance impacts.

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NextGEN Download Gallery is targetted at creating \"Trade/Media\" areas on websites, allowing journalists to easily download multiple product images. It\'s apparently very popular with photographers too.

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Translations

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Many thanks to the generous efforts of our translators:

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If you\'d like to help out by translating this plugin, please sign up for an account and dig in.

\";s:17:\"short_description\";s:97:\"Add a template to NextGEN Gallery that provides multiple-file downloads for trade/media galleries\";}i:10;O:8:\"stdClass\":15:{s:4:\"name\";s:22:\"NextGEN Gallery Search\";s:4:\"slug\";s:32:\"nextgen-gallery-search-galleries\";s:7:\"version\";s:4:\"2.11\";s:6:\"author\";s:48:\"By the WWW...\";s:14:\"author_profile\";s:31:\"//profiles.wordpress.org/koelio\";s:12:\"contributors\";a:1:{s:11:\"Koen Schuit\";s:0:\"\";}s:8:\"requires\";s:5:\"3.1.2\";s:6:\"tested\";s:5:\"3.8.3\";s:13:\"compatibility\";a:2:{s:5:\"3.7.1\";a:2:{s:3:\"1.0\";a:3:{i:0;i:100;i:1;i:1;i:2;i:1;}s:3:\"2.0\";a:3:{i:0;i:100;i:1;i:1;i:2;i:1;}}s:3:\"3.8\";a:2:{s:3:\"2.0\";a:3:{i:0;i:100;i:1;i:1;i:2;i:1;}s:3:\"2.1\";a:3:{i:0;i:100;i:1;i:2;i:2;i:2;}}}s:6:\"rating\";d:100;s:11:\"num_ratings\";i:3;s:7:\"ratings\";a:5:{i:5;i:3;i:4;i:0;i:3;i:0;i:2;i:0;i:1;i:0;}s:8:\"homepage\";s:62:\"http://wordpress.org/plugins/nextgen-gallery-search-galleries/\";s:11:\"description\";s:1217:\"

NextGEN Gallery - Search Galleries

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NextGEN Gallery - Search Galleries adds a search option to the existing NextGEN Gallery menu.

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With this search option you can quickly and easily search through your galleries so you don’t have to go through a whole listst of galleries.\nThe output of the search will show in a table similar to the manage galleries page and will provide a link to that gallery.

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NextGEN Gallery - Search Galleries even adds an option to search in the description which can be helpfull if you don’t remember the name.

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And NextGEN Gallery - Search Galleries also has the ability to search for part of the name or description. \nFor instance: int will find internet, but also winter, ballpoint, saints etc.

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Please note: this plugin requires NextGEN Gallery installed.

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If you have any questions, suggestions, ideas or feedback, please email me at koen@bythewww.com

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Key features:

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    \n
  1. Find galleries easily!
    2. \n
  2. Search for name or description.
    3. \n
  3. Outputs a link to the gallery.
    4. \n
\";s:17:\"short_description\";s:75:\"Search a gallery within the NextGEN galleries including description search.\";}i:11;O:8:\"stdClass\":15:{s:4:\"name\";s:35:\"NextGEN Gallery Media Library Addon\";s:4:\"slug\";s:35:\"nextgen-gallery-media-library-addon\";s:7:\"version\";s:5:\"0.3.1\";s:6:\"author\";s:59:\"Jagged Edge Media\";s:14:\"author_profile\";s:31:\"//profiles.wordpress.org/jakzam\";s:12:\"contributors\";a:2:{s:6:\"JAkzam\";s:31:\"//profiles.wordpress.org/jakzam\";s:10:\"pcgrejaldo\";s:35:\"//profiles.wordpress.org/pcgrejaldo\";}s:8:\"requires\";s:5:\"3.5.1\";s:6:\"tested\";s:5:\"3.8.3\";s:13:\"compatibility\";a:3:{s:5:\"3.5.2\";a:1:{s:5:\"0.3.0\";a:3:{i:0;i:100;i:1;i:1;i:2;i:1;}}s:3:\"3.6\";a:1:{s:5:\"0.3.0\";a:3:{i:0;i:0;i:1;i:1;i:2;i:0;}}s:3:\"3.9\";a:1:{s:5:\"0.3.1\";a:3:{i:0;i:0;i:1;i:1;i:2;i:0;}}}s:6:\"rating\";d:100;s:11:\"num_ratings\";i:3;s:7:\"ratings\";a:5:{i:5;i:3;i:4;i:0;i:3;i:0;i:2;i:0;i:1;i:0;}s:8:\"homepage\";s:71:\"http://jaggededgemedia.com/plugins/nextgen-gallery-media-library-addon/\";s:11:\"description\";s:803:\"

NOTE: NOT compatible with the new NextGEN Gallery 2.x version

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If you use NextGEN Gallery, then you know that, when you create a gallery, you must upload the images for that gallery, which is then stored in a separate folder from your WordPress Media Library. For large websites with hundreds and hundreds of images, like some of my high profile clients, this can add strain on the server, causing long page load times, in turn effecting Google rankings.

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Now, with our NextGEN Gallery Media Library Addon, you will have the option of adding images that are already stored in your Media Library. Just like adding an image to a page or post, adding an image to your NextGEN Gallery can be a matter of clicking a button and finding an image you have already uploaded.

\";s:17:\"short_description\";s:95:\"This plugin adds a feature to NextGEN Gallery Plguin to add an image from the WP Media Library.\";}i:12;O:8:\"stdClass\":15:{s:4:\"name\";s:22:\"NextGEN Gallery Voting\";s:4:\"slug\";s:22:\"nextgen-gallery-voting\";s:7:\"version\";s:5:\"2.7.6\";s:6:\"author\";s:47:\"Shaun Alberts\";s:14:\"author_profile\";s:31:\"//profiles.wordpress.org/shauno\";s:12:\"contributors\";a:1:{s:6:\"shauno\";s:31:\"//profiles.wordpress.org/shauno\";}s:8:\"requires\";s:5:\"2.9.1\";s:6:\"tested\";s:5:\"4.0.1\";s:13:\"compatibility\";a:1:{s:5:\"3.3.1\";a:1:{s:6:\"1.10.1\";a:3:{i:0;i:100;i:1;i:5;i:2;i:5;}}}s:6:\"rating\";d:76.7999999999999971578290569595992565155029296875;s:11:\"num_ratings\";i:62;s:7:\"ratings\";a:5:{i:5;i:29;i:4;i:15;i:3;i:5;i:2;i:5;i:1;i:8;}s:8:\"homepage\";s:53:\"http://shauno.co.za/wordpress/nextgen-gallery-voting/\";s:11:\"description\";s:818:\"

Features

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NGG Voting was inspired by a request from Troy Schlegel of Schlegel Photography. Please read the FAQ for more info on how it works.

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If you want even more features and functionality, be sure to check out the Premium add-on.

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Please read the FAQ, as you are required to add a tag to gallery templates for certain functionality to work!

\";s:17:\"short_description\";s:131:\"Adds the ability for users to vote and rate your NextGEN Images. Simple options give you the ability to limit who can vote on what.\";}i:13;O:8:\"stdClass\":15:{s:4:\"name\";s:23:\"NextGEN Player Template\";s:4:\"slug\";s:23:\"nextgen-player-template\";s:7:\"version\";s:5:\"1.1.1\";s:6:\"author\";s:56:\"Piotr Tokarczyk\";s:14:\"author_profile\";s:39:\"//profiles.wordpress.org/piotrtokarczyk\";s:12:\"contributors\";a:1:{s:15:\"Piotr Tokarczyk\";s:0:\"\";}s:8:\"requires\";s:3:\"3.4\";s:6:\"tested\";s:5:\"3.5.2\";s:13:\"compatibility\";a:10:{s:5:\"3.5.1\";a:3:{s:5:\"1.0.2\";a:3:{i:0;i:100;i:1;i:1;i:2;i:1;}s:5:\"1.0.4\";a:3:{i:0;i:67;i:1;i:3;i:2;i:2;}s:5:\"1.1.0\";a:3:{i:0;i:100;i:1;i:1;i:2;i:1;}}s:5:\"3.5.2\";a:1:{s:5:\"1.1.0\";a:3:{i:0;i:50;i:1;i:2;i:2;i:1;}}s:3:\"3.6\";a:1:{s:5:\"1.1.1\";a:3:{i:0;i:100;i:1;i:1;i:2;i:1;}}s:5:\"3.6.1\";a:1:{s:5:\"1.1.1\";a:3:{i:0;i:100;i:1;i:1;i:2;i:1;}}s:5:\"3.7.1\";a:1:{s:5:\"1.1.1\";a:3:{i:0;i:100;i:1;i:1;i:2;i:1;}}s:3:\"3.8\";a:1:{s:5:\"1.1.1\";a:3:{i:0;i:100;i:1;i:1;i:2;i:1;}}s:5:\"3.8.1\";a:1:{s:5:\"1.1.1\";a:3:{i:0;i:100;i:1;i:1;i:2;i:1;}}s:3:\"3.9\";a:1:{s:5:\"1.1.1\";a:3:{i:0;i:100;i:1;i:1;i:2;i:1;}}s:5:\"3.9.1\";a:1:{s:5:\"1.1.1\";a:3:{i:0;i:100;i:1;i:1;i:2;i:1;}}s:5:\"3.9.2\";a:1:{s:5:\"1.1.1\";a:3:{i:0;i:100;i:1;i:1;i:2;i:1;}}}s:6:\"rating\";d:93.400000000000005684341886080801486968994140625;s:11:\"num_ratings\";i:3;s:7:\"ratings\";a:5:{i:5;i:2;i:4;i:1;i:3;i:0;i:2;i:0;i:1;i:0;}s:8:\"homepage\";s:49:\"http://piotr-tokarczyk.pl/nextgen-player-template\";s:11:\"description\";s:875:\"

Plugin integrates the jQuery Plugin Galleryview from Jack Anderson (http://www.spaceforaname.com/galleryview/) with NextGEN Gallery using custom template. Use the shortcode [nggallery id=x template=\"player\"] to show the new layout.\nResponsive version created by Jeroen Penninck (http://jeroenp.awardspace.com/?page=blog:responsivegalleryview#content)

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NextGEN Player Template Wordpress Plugin - Resources

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*Visit the NextGEN Player Template WordPress NextGEN Player Template Plugin official homepage
\n*View NextGEN Player Template Demo

\";s:17:\"short_description\";s:38:\"NextGEN Gallery Custom Player Template\";}i:14;O:8:\"stdClass\":15:{s:4:\"name\";s:25:\"NextGen Gallery Powertags\";s:4:\"slug\";s:25:\"nextgen-gallery-powertags\";s:7:\"version\";s:5:\"1.6.5\";s:6:\"author\";s:64:\"Mauro Mascia (baba_mmx)\";s:14:\"author_profile\";s:33:\"//profiles.wordpress.org/baba_mmx\";s:12:\"contributors\";a:1:{s:8:\"baba_mmx\";s:33:\"//profiles.wordpress.org/baba_mmx\";}s:8:\"requires\";s:5:\"3.0.1\";s:6:\"tested\";s:5:\"4.0.1\";s:13:\"compatibility\";a:2:{s:3:\"3.5\";a:1:{s:3:\"1.2\";a:3:{i:0;i:100;i:1;i:1;i:2;i:1;}}s:5:\"3.5.1\";a:2:{s:5:\"1.5.7\";a:3:{i:0;i:100;i:1;i:1;i:2;i:1;}s:5:\"1.6.1\";a:3:{i:0;i:100;i:1;i:1;i:2;i:1;}}}s:6:\"rating\";d:80;s:11:\"num_ratings\";i:5;s:7:\"ratings\";a:5:{i:5;i:3;i:4;i:1;i:3;i:0;i:2;i:0;i:1;i:1;}s:8:\"homepage\";s:72:\"http://www.mauromascia.com/portfolio/wordpress-nextgen-gallery-powertags\";s:11:\"description\";s:5656:\"

Extends NextGen Gallery (prior to version 2.0) / NextCellent Gallery to simplify the image filtering, providing a simple way to filter gallery images with their own tags.

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This plugin depends on NextGEN Gallery prior to version 2.0 or NextCellent Gallery.

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This plugin will not work with newer versions of NextGEN Gallery and IT WILL NOT BE UPDATED TO WORK WITH THEM.

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This plugin is minimally maintained: please make a donation to encourage future developments using this link Donate to this plugin ».

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WARNING! NextGenGallery 2.0 update breaks all

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NGG 2.0 has a completly different structure: Powertags will only work with NGG < 2.0

\n\nPlease refer to this nextgen-gallery-200-conflicterror\n\n\n\n

Usage

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    \n
  1. Add one or more tags to the gallery images
    2. \n
  2. Insert the nggpowertags shortcode:[nggpowertags gallery=X] (where X is the gallery ID) and you have done.
    3. \n
  3. Optionally you can add one or more attributes:
    4. \n
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You can also set more than one gallery using a comma separated list of IDs, for example:

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[nggpowertags gallery=1,2,3]
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Include/Exclude notes

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The include attribute has been set to have the precedence on the exclude attribute and can be also used to specify a custom ordered list of tags.\nTo better understand the precedence, I show you an example of a gallery (name it with ID=1) with 3 images tagged as follow:

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This shortcodes are equivalent:

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[nggpowertags gallery=1 include=cool exclude=dubai]
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[nggpowertags gallery=1 include=cool]
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You\'ll end up with image1 and image2.

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Using this shortcode:

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[nggpowertags gallery=1 exclude=dubai]
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You\'ll end up with the image2 only.

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Custom ordered tags

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With the \"include\" attribute you can easily change the tag order as you like: if you have \"dubai\" and \"cool\" tags, you end up with the alphabetical order (cool / dubai), but if you specify the attribute \"include\":

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[nggpowertags gallery=1 include=dubai,cool]
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you end up with your personal ordered tags.

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Permalinks

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In order to have working parmalinks with Powertags, you have first to enable the permalinks in WordPress (using for example %postname%) then on NextGen Gallery (../wp-admin/admin.php?page=nggallery-options), checking \"Activate permalinks\" options.\nYou can optionally change the gallery slug name, changing the \"Gallery slug name\" input field.

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In this way, you end up with something like this:

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http://www.yoursitename.com/yourpagename/gallery-slug-name/tags/yourtag
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Translation notes

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The default word used to describe all the images is set to \"All\".\nSomeone asked me to add a translatable string, so I\'ve added some useful words:

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"All", "Any", "Show All", "Show All Categories", "All Categories", "All Tags"
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Actually these are translated only on my mother tongue, which is the italian.\nIf you need more translatable strings or more languages, please modify or create a new \".po\" file and send it via mail to my email address (info@mauromascia.com).

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Note that, if you specify a different word (from the ones defined as translatable strings) in the \"all_word\" attribute, this will not be translated.

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Style

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The main structure is this:

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<div id="nggpowertags">\n    <div class="nggpowertags-menu">...</div>\n    <div class="ngg-galleryoverview">...</div>\n</div>
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If you need to move the menu down, you can put some CSS (in your style.css) like this:

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div#nggpowertags {\n    position: relative;\n}\ndiv.nggpowertags-menu {\n    position: absolute;\n    bottom: 0;\n}\ndiv.ngg-galleryoverview {\n    padding-bottom: 30px;\n}
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The style of the active tag can be changed using the \"active-tag\" class under the \"nggpowertags-menu\" div.

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If you need to hide the tag menu, you have to set the tagmenu_format to \"empty\":

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[nggpowertags gallery=1 tagmenu_format=empty]
\";s:17:\"short_description\";s:149:\"Extends NextGen Gallery (prior to version 2.0) / NextCellent Gallery to simplify the image filtering, providing a simple way to filter gallery images\";}i:15;O:8:\"stdClass\":15:{s:4:\"name\";s:30:\"Photoswipe for NextGEN Gallery\";s:4:\"slug\";s:30:\"photoswipe-for-nextgen-gallery\";s:7:\"version\";s:5:\"1.2.1\";s:6:\"author\";s:52:\"Guillermo Señas\";s:14:\"author_profile\";s:31:\"//profiles.wordpress.org/gsenas\";s:12:\"contributors\";a:1:{s:6:\"gsenas\";s:31:\"//profiles.wordpress.org/gsenas\";}s:8:\"requires\";s:3:\"3.0\";s:6:\"tested\";s:5:\"3.4.2\";s:13:\"compatibility\";a:9:{s:5:\"3.4.2\";a:5:{s:3:\"1.0\";a:3:{i:0;i:100;i:1;i:2;i:2;i:2;}s:5:\"1.0.1\";a:3:{i:0;i:100;i:1;i:1;i:2;i:1;}s:5:\"1.0.2\";a:3:{i:0;i:100;i:1;i:1;i:2;i:1;}s:3:\"1.1\";a:3:{i:0;i:100;i:1;i:2;i:2;i:2;}s:5:\"1.1.1\";a:3:{i:0;i:100;i:1;i:1;i:2;i:1;}}s:3:\"3.5\";a:1:{s:5:\"1.2.1\";a:3:{i:0;i:100;i:1;i:1;i:2;i:1;}}s:5:\"3.5.1\";a:2:{s:3:\"1.2\";a:3:{i:0;i:100;i:1;i:1;i:2;i:1;}s:5:\"1.2.1\";a:3:{i:0;i:100;i:1;i:4;i:2;i:4;}}s:3:\"3.6\";a:1:{s:5:\"1.2.1\";a:3:{i:0;i:0;i:1;i:1;i:2;i:0;}}s:5:\"3.6.1\";a:1:{s:5:\"1.2.1\";a:3:{i:0;i:100;i:1;i:1;i:2;i:1;}}s:5:\"3.7.1\";a:1:{s:5:\"1.2.1\";a:3:{i:0;i:0;i:1;i:1;i:2;i:0;}}s:5:\"3.8.1\";a:1:{s:5:\"1.2.1\";a:3:{i:0;i:100;i:1;i:1;i:2;i:1;}}s:5:\"3.9.1\";a:1:{s:5:\"1.2.1\";a:3:{i:0;i:0;i:1;i:1;i:2;i:0;}}s:3:\"4.1\";a:1:{s:5:\"1.2.1\";a:3:{i:0;i:0;i:1;i:1;i:2;i:0;}}}s:6:\"rating\";d:91.599999999999994315658113919198513031005859375;s:11:\"num_ratings\";i:12;s:7:\"ratings\";a:5:{i:5;i:10;i:4;i:1;i:3;i:0;i:2;i:0;i:1;i:1;}s:8:\"homepage\";s:17:\"http://adriza.net\";s:11:\"description\";s:1886:\"

The default NextGEN gallery navigations (Shutter, Thickbox, etc...) fall short when using a mobile browser?\nNow you can use Photoswipe, the best mobile image browser, just installing this plugin. The default gallery effect and configuration is kept when accessing from a desktop browser.

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After activation you\'ll find a new Photoswipe submenu in the NextGEN Gallery menu, allowing you to configure how the plugin works.

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Please note, I am not the developer, or related in any way with of the authors of Photoswipe or NextGEN Gallery. This plugin is only intended to make Photoswipe integration with NextGEN Gallery dead simple.

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If you find this plugin helpful, consider donating, at least ten cents.

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Options

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The plugin is ready to be used with zero configuration, but to make testing easier, there are 3 configuration options:

\n\n\";s:17:\"short_description\";s:118:\"NextGEN Gallery navigations adapted for iPhone, Android and Blackberry: pinch to zoom, swipe to navigate, auto-rotate.\";}i:16;O:8:\"stdClass\":15:{s:4:\"name\";s:50:\"BMo Expo - a Wordpress and NextGEN Gallery plugin\";s:4:\"slug\";s:8:\"bmo-expo\";s:7:\"version\";s:6:\"1.0.15\";s:6:\"author\";s:57:\"Benedikt Morschheuser\";s:14:\"author_profile\";s:35:\"//profiles.wordpress.org/bmodesign2\";s:12:\"contributors\";a:1:{s:10:\"bmodesign2\";s:35:\"//profiles.wordpress.org/bmodesign2\";}s:8:\"requires\";s:3:\"3.1\";s:6:\"tested\";s:5:\"3.9.2\";s:13:\"compatibility\";a:5:{s:5:\"3.6.1\";a:4:{s:5:\"1.0.0\";a:3:{i:0;i:100;i:1;i:2;i:2;i:2;}s:5:\"1.0.1\";a:3:{i:0;i:100;i:1;i:1;i:2;i:1;}s:5:\"1.0.2\";a:3:{i:0;i:100;i:1;i:2;i:2;i:2;}s:5:\"1.0.4\";a:3:{i:0;i:100;i:1;i:1;i:2;i:1;}}s:3:\"3.7\";a:1:{s:5:\"1.0.8\";a:3:{i:0;i:100;i:1;i:1;i:2;i:1;}}s:5:\"3.7.1\";a:6:{s:6:\"1.0.10\";a:3:{i:0;i:100;i:1;i:1;i:2;i:1;}s:6:\"1.0.11\";a:3:{i:0;i:100;i:1;i:1;i:2;i:1;}s:5:\"1.0.5\";a:3:{i:0;i:100;i:1;i:1;i:2;i:1;}s:5:\"1.0.7\";a:3:{i:0;i:100;i:1;i:1;i:2;i:1;}s:5:\"1.0.8\";a:3:{i:0;i:100;i:1;i:2;i:2;i:2;}s:5:\"1.0.9\";a:3:{i:0;i:100;i:1;i:1;i:2;i:1;}}s:5:\"3.8.1\";a:1:{s:6:\"1.0.13\";a:3:{i:0;i:100;i:1;i:1;i:2;i:1;}}s:3:\"3.9\";a:2:{s:6:\"1.0.13\";a:3:{i:0;i:0;i:1;i:2;i:2;i:0;}s:6:\"1.0.14\";a:3:{i:0;i:100;i:1;i:1;i:2;i:1;}}}s:6:\"rating\";d:100;s:11:\"num_ratings\";i:8;s:7:\"ratings\";a:5:{i:5;i:8;i:4;i:0;i:3;i:0;i:2;i:0;i:1;i:0;}s:8:\"homepage\";s:66:\"http://software.bmo-design.de/wordpress-plugin-bmo-exhibition.html\";s:11:\"description\";s:1397:\"

BMo Expo is one of the best gallery and exhibition plugins for wordpress. It allows you to replace default wordpress galleries and NextGen galleries with impressive gallery designs. The plugin is easy to use and configure. Slideshow, vertical scroll, Lightbox and more could be used. Perfect for photographers, artists or exhibitor. Try it out or watch the demo video.

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The plugin is an evolution of the successful NextGEN Scroll Gallery plugins.

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You can use it as stand alone gallery viewer for your default wordpress galleries or as extension the very cool Wordpress gallery manager NextGen Gallery.

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After the installation, you will find an admin interface, with which you can adjust the plugin settings.\nThis gallery do not use flash, so no extra browser plugin is required and search engines can crawl your content easily.\nIf you have some questions or you need instructions look at BMo-Design - BMo Exhibition. There you will find instructions and discussions, which can help you.\nIf you want a special adaptation to the needs of your page, you can commission me at BMo-Design.

\n\n

Tested with Safari 6, FF 24, IE 9.

\";s:17:\"short_description\";s:150:\"BMo Exposition is a gallery and exhibition plugins for wordpress. It allows you to replace default wordpress galleries and NextGen galleries with beau\";}i:17;O:8:\"stdClass\":15:{s:4:\"name\";s:35:\"NextGen Public Image Uploader (PUP)\";s:4:\"slug\";s:29:\"nextgen-public-image-uploader\";s:7:\"version\";s:19:\"1.2.2 Farrah Fowler\";s:6:\"author\";s:56:\"Justin Lindsay\";s:14:\"author_profile\";s:34:\"//profiles.wordpress.org/lagdonkey\";s:12:\"contributors\";a:1:{s:9:\"Lagdonkey\";s:0:\"\";}s:8:\"requires\";s:3:\"Any\";s:6:\"tested\";s:5:\"3.6.1\";s:13:\"compatibility\";a:4:{s:3:\"3.6\";a:1:{s:10:\"1.0 Cooper\";a:3:{i:0;i:100;i:1;i:2;i:2;i:2;}}s:5:\"3.6.1\";a:1:{s:19:\"1.2.2 Farrah Fowler\";a:3:{i:0;i:0;i:1;i:1;i:2;i:0;}}s:5:\"3.7.1\";a:1:{s:19:\"1.2.2 Farrah Fowler\";a:3:{i:0;i:100;i:1;i:1;i:2;i:1;}}s:5:\"3.9.1\";a:1:{s:19:\"1.2.2 Farrah Fowler\";a:3:{i:0;i:0;i:1;i:1;i:2;i:0;}}}s:6:\"rating\";d:66.599999999999994315658113919198513031005859375;s:11:\"num_ratings\";i:3;s:7:\"ratings\";a:5:{i:5;i:1;i:4;i:0;i:3;i:1;i:2;i:1;i:1;i:0;}s:8:\"homepage\";s:32:\"http://demo.amazinglyamusing.com\";s:11:\"description\";s:1793:\"

NextGen Public Image Uploader is a plugin that is designed to intergrate with the popular gallery plugin, NextGen Gallery\nfor wordpress. While it is designed to intergrate with NGG, it can also be used as a standalone image uploading plugin as\nwell. This plugin was designed from the ground up, to be flexible, secure and stable. It boasts many features, including:

\n\n

Thumbnail Generation. When uploading directly to a gallery, this plugin will not only update the gallery list, it will\nalso create thumbnails automatically. No extra work needed, galleries are automatically updated.

\n\n

Direct to gallery upload. For example [ngg_public_uploader gid=\"3\"] would create an upload\npage that sends all uploads directly to gallery 3.

\n\n

Upload to queue. If you use NextGen Gallery, but don\'t want user uplods to be moved automatically, you can enable\nthe moderation queue. All user uploads will go into an upload directory as set in the settings page, and then put into \na temporary holding queue until they are approved. You can set specific user roles that can access the queue, with options\nof either deleting the images uploaded, or moving them to a set gallery.

\n\n

Even if you don\'t use NextGen Gallery, this plugin can still be used to allow users to upload images to a directory you \nspecify. From there, you are free to use the images in posts, or anywhere else on your site you want.

\n\n

E-mail notification. This plugin can also be set up to notify you when a user uploads images.

\n\n

Create galleries. Yes, you can even make new galleries, right from the front-end.

\n\n

For a working demo of the plugin in action, visit: http://www.demo.amazinglyamusing.com/moderation/

\";s:17:\"short_description\";s:140:\"This plugin will allow frontend image uploads. It will intergrate with NextGen Gallery, but it can be used as a standalone uploader as well.\";}i:18;O:8:\"stdClass\":15:{s:4:\"name\";s:21:\"NextGEN Image Cropper\";s:4:\"slug\";s:21:\"nextgen-image-cropper\";s:7:\"version\";s:3:\"1.2\";s:6:\"author\";s:48:\"Mitch McCoy\";s:14:\"author_profile\";s:35:\"//profiles.wordpress.org/mitchmccoy\";s:12:\"contributors\";a:1:{s:11:\"Mitch McCoy\";s:0:\"\";}s:8:\"requires\";s:3:\"3.3\";s:6:\"tested\";s:5:\"3.5.2\";s:13:\"compatibility\";a:1:{s:5:\"3.3.1\";a:1:{s:3:\"1.0\";a:3:{i:0;i:0;i:1;i:2;i:2;i:0;}}}s:6:\"rating\";d:73.400000000000005684341886080801486968994140625;s:11:\"num_ratings\";i:3;s:7:\"ratings\";a:5:{i:5;i:2;i:4;i:0;i:3;i:0;i:2;i:0;i:1;i:1;}s:8:\"homepage\";s:22:\"http://www.omegafi.com\";s:11:\"description\";s:338:\"

NextGEN Image Cropper uses the jQuery jCrop plugin(included) to allow a user to crop an image within a NextGen gallery.\nUsing NextGen Gallery libraries, a backup of the original image is made and the image is cropped based on selected dimensions and saved.\nThe NextGen image meta data is also updated with the new image dimensions.

\";s:17:\"short_description\";s:85:\"NextGEN Image Cropper extends the NextGen Gallery plugin to allow cropping of images.\";}i:19;O:8:\"stdClass\":15:{s:4:\"name\";s:26:\"NextGEN Gallery Sell Photo\";s:4:\"slug\";s:26:\"nextgen-gallery-sell-photo\";s:7:\"version\";s:5:\"1.0.1\";s:6:\"author\";s:44:\"naa986\";s:14:\"author_profile\";s:31:\"//profiles.wordpress.org/naa986\";s:12:\"contributors\";a:1:{s:6:\"naa986\";s:31:\"//profiles.wordpress.org/naa986\";}s:8:\"requires\";s:3:\"3.0\";s:6:\"tested\";s:3:\"4.1\";s:13:\"compatibility\";a:4:{s:5:\"3.9.1\";a:1:{s:5:\"1.0.1\";a:3:{i:0;i:0;i:1;i:1;i:2;i:0;}}s:5:\"3.9.2\";a:1:{s:5:\"1.0.1\";a:3:{i:0;i:80;i:1;i:5;i:2;i:4;}}s:3:\"4.0\";a:1:{s:5:\"1.0.1\";a:3:{i:0;i:80;i:1;i:5;i:2;i:4;}}s:3:\"4.1\";a:1:{s:5:\"1.0.1\";a:3:{i:0;i:100;i:1;i:4;i:2;i:4;}}}s:6:\"rating\";d:100;s:11:\"num_ratings\";i:1;s:7:\"ratings\";a:5:{i:5;i:1;i:4;i:0;i:3;i:0;i:2;i:0;i:1;i:0;}s:8:\"homepage\";s:68:\"http://noorsplugin.com/2014/08/17/nextgen-gallery-sell-photo-plugin/\";s:11:\"description\";s:1389:\"

This plugin allows you to create a Buy button for each NextGEN Gallery photo that a user can click to purchase.

\n\n

Feature

\n\n\n\n

How to Sell Photos

\n\n

Once you have installed this plugin you need to go to the settings menu to configure some options (Settings -> NG Sell Photo).

\n\n\n\n

Now, insert your NextGEN gallery shortcode into a post/page like the following:

\n\n
[nggallery id="1" template="ngsellphoto"]
\n\n

For documentation please visit the NextGEN Sell Photo plugin page

\";s:17:\"short_description\";s:70:\"Easily sell images or photos on WordPress using NextGEN gallery plugin\";}i:20;O:8:\"stdClass\":15:{s:4:\"name\";s:24:\"NextGen Cooliris Gallery\";s:4:\"slug\";s:24:\"nextgen-cooliris-gallery\";s:7:\"version\";s:3:\"0.7\";s:6:\"author\";s:51:\"Isaac Rowntree\";s:14:\"author_profile\";s:35:\"//profiles.wordpress.org/zackdesign\";s:12:\"contributors\";a:1:{s:10:\"zackdesign\";s:35:\"//profiles.wordpress.org/zackdesign\";}s:8:\"requires\";s:3:\"2.7\";s:6:\"tested\";s:5:\"3.7.1\";s:13:\"compatibility\";a:8:{s:5:\"2.9.1\";a:1:{s:3:\"0.5\";a:3:{i:0;i:100;i:1;i:1;i:2;i:1;}}s:5:\"2.9.2\";a:1:{s:3:\"0.5\";a:3:{i:0;i:100;i:1;i:3;i:2;i:3;}}s:5:\"3.0.1\";a:1:{s:3:\"0.5\";a:3:{i:0;i:83;i:1;i:6;i:2;i:5;}}s:3:\"3.2\";a:1:{s:3:\"0.5\";a:3:{i:0;i:100;i:1;i:1;i:2;i:1;}}s:3:\"3.4\";a:1:{s:3:\"0.6\";a:3:{i:0;i:0;i:1;i:1;i:2;i:0;}}s:5:\"3.4.2\";a:1:{s:3:\"0.6\";a:3:{i:0;i:0;i:1;i:1;i:2;i:0;}}s:5:\"3.5.1\";a:1:{s:3:\"0.6\";a:3:{i:0;i:0;i:1;i:2;i:2;i:0;}}s:5:\"3.6.1\";a:1:{s:3:\"0.6\";a:3:{i:0;i:0;i:1;i:1;i:2;i:0;}}}s:6:\"rating\";d:90;s:11:\"num_ratings\";i:8;s:7:\"ratings\";a:5:{i:5;i:5;i:4;i:2;i:3;i:1;i:2;i:0;i:1;i:0;}s:8:\"homepage\";s:50:\"http://wp.zackdesign.biz/nextgen-cooliris-gallery/\";s:11:\"description\";s:371:\"

Features at a glance:

\n\n\";s:17:\"short_description\";s:84:\"Easily embed Cooliris Galleries using your NextGen galleries or albums via shortcode\";}i:21;O:8:\"stdClass\":15:{s:4:\"name\";s:29:\"NextGEN Gallery Image Chooser\";s:4:\"slug\";s:29:\"nextgen-gallery-image-chooser\";s:7:\"version\";s:5:\"1.0.1\";s:6:\"author\";s:55:\"Ulrich Mertin\";s:14:\"author_profile\";s:32:\"//profiles.wordpress.org/umertin\";s:12:\"contributors\";a:1:{s:7:\"umertin\";s:32:\"//profiles.wordpress.org/umertin\";}s:8:\"requires\";s:5:\"3.3.1\";s:6:\"tested\";s:3:\"4.1\";s:13:\"compatibility\";a:1:{s:5:\"3.3.1\";a:2:{s:5:\"0.0.2\";a:3:{i:0;i:100;i:1;i:1;i:2;i:1;}s:5:\"0.1.0\";a:3:{i:0;i:100;i:1;i:1;i:2;i:1;}}}s:6:\"rating\";d:86.599999999999994315658113919198513031005859375;s:11:\"num_ratings\";i:3;s:7:\"ratings\";a:5:{i:5;i:2;i:4;i:0;i:3;i:1;i:2;i:0;i:1;i:0;}s:8:\"homepage\";N;s:11:\"description\";s:1605:\"

NextGEN Gallery (NGG) is an excellent gallery for WordPress. Its major drawback, as far as I\'m concerned, is the minimalistic image chooser. So I\'ve taken the liberty to adapt the equally excellent g2image image chooser, which also is embedded in the WPG2 connector to Gallery2.

\n\n

This image chooser allows to browse through hierarchical albums and galleries, insert NGG tags for albums and galleries, as well as NGG and HTML tags for one or more images and thumbnails at a time.

\n\n\n\n

At present, the NGG tags [album], [nggallery], [thumb], [singlepic], and [imagebrowser], plus some html links are supported.

\n\n

Default settings can be altered on the settings page.

\n\n

At this time, the image chooser is available in English (default) and German. Other translations are welcome and will be included in the next release.

\";s:17:\"short_description\";s:67:\"Comfortable Image Chooser for the NextGEN Gallery, based on g2image\";}i:22;O:8:\"stdClass\":15:{s:4:\"name\";s:27:\"NextGEN TinyMce Description\";s:4:\"slug\";s:27:\"nextgen-tinymce-description\";s:7:\"version\";s:3:\"1.4\";s:6:\"author\";s:91:\"Marco Buttarini & Giorgio Martello & Andrea Brugnolo\";s:14:\"author_profile\";s:34:\"//profiles.wordpress.org/webgrafia\";s:12:\"contributors\";a:1:{s:15:\"Marco Buttarini\";s:0:\"\";}s:8:\"requires\";s:3:\"2.8\";s:6:\"tested\";s:5:\"3.7.1\";s:13:\"compatibility\";a:1:{s:5:\"3.3.1\";a:2:{s:3:\"1.1\";a:3:{i:0;i:0;i:1;i:5;i:2;i:0;}s:3:\"1.2\";a:3:{i:0;i:100;i:1;i:2;i:2;i:2;}}}s:6:\"rating\";d:88;s:11:\"num_ratings\";i:5;s:7:\"ratings\";a:5:{i:5;i:3;i:4;i:1;i:3;i:1;i:2;i:0;i:1;i:0;}s:8:\"homepage\";s:53:\"http://marbu.org/wordpress-plugin-tinymce-in-nextgen/\";s:11:\"description\";s:123:\"

NextGEN TinyMce Description simply integrate tinymce wysiwyg to the description of the picture in a NextGEN gallery.

\";s:17:\"short_description\";s:86:\"NextGEN TinyMce Description add native tinymce to nextgen gallery picture description.\";}i:23;O:8:\"stdClass\":15:{s:4:\"name\";s:23:\"NextGen Oqey Skins Lite\";s:4:\"slug\";s:23:\"nextgen-oqey-skins-lite\";s:7:\"version\";s:3:\"0.3\";s:6:\"author\";s:49:\"oqeysites.com\";s:14:\"author_profile\";s:32:\"//profiles.wordpress.org/dariimd\";s:12:\"contributors\";a:1:{s:13:\"oQeySites.com\";s:0:\"\";}s:8:\"requires\";s:5:\"3.6.1\";s:6:\"tested\";s:5:\"3.6.1\";s:13:\"compatibility\";a:9:{s:5:\"3.4.1\";a:1:{s:3:\"0.1\";a:3:{i:0;i:100;i:1;i:7;i:2;i:7;}}s:5:\"3.4.2\";a:1:{s:3:\"0.1\";a:3:{i:0;i:100;i:1;i:4;i:2;i:4;}}s:3:\"3.6\";a:2:{s:3:\"0.1\";a:3:{i:0;i:100;i:1;i:1;i:2;i:1;}s:3:\"0.3\";a:3:{i:0;i:100;i:1;i:1;i:2;i:1;}}s:5:\"3.6.1\";a:2:{s:3:\"0.2\";a:3:{i:0;i:100;i:1;i:1;i:2;i:1;}s:3:\"0.3\";a:3:{i:0;i:100;i:1;i:2;i:2;i:2;}}s:5:\"3.7.1\";a:1:{s:3:\"0.3\";a:3:{i:0;i:100;i:1;i:1;i:2;i:1;}}s:3:\"3.8\";a:1:{s:3:\"0.3\";a:3:{i:0;i:100;i:1;i:1;i:2;i:1;}}s:3:\"3.9\";a:1:{s:3:\"0.3\";a:3:{i:0;i:100;i:1;i:1;i:2;i:1;}}s:5:\"3.9.1\";a:1:{s:3:\"0.3\";a:3:{i:0;i:100;i:1;i:1;i:2;i:1;}}s:5:\"4.0.1\";a:1:{s:3:\"0.3\";a:3:{i:0;i:100;i:1;i:1;i:2;i:1;}}}s:6:\"rating\";d:100;s:11:\"num_ratings\";i:7;s:7:\"ratings\";a:5:{i:5;i:7;i:4;i:0;i:3;i:0;i:2;i:0;i:1;i:0;}s:8:\"homepage\";N;s:11:\"description\";s:664:\"

NextGen Oqey Skins Lite is a plugin that allow to use oQey Skins on NextGen Gallery.\nIt process automatically the nextgen gallery tags, slideshow and nggallery running them with the default oQey skin. It work perfect with free and commercial oQey Skins.

\n\n

Links:

\n\n\n\n

For more details, skins and examples and flash gallery, please visit oqeysites.com

\n\n

Features:

\n\n\";s:17:\"short_description\";s:109:\"NextGen Oqey Skins Lite is an add-on for oQey Gallery plugin that allow to use oQey skin for NextGen gallery.\";}}}','no'),(23871,0,'_site_transient_timeout_browser_3233707623a4a9bf99ad0e07fb8cdced','1421629762','yes'),(23872,0,'_site_transient_browser_3233707623a4a9bf99ad0e07fb8cdced','a:9:{s:8:\"platform\";s:9:\"Macintosh\";s:4:\"name\";s:6:\"Chrome\";s:7:\"version\";s:12:\"39.0.2171.95\";s:10:\"update_url\";s:28:\"http://www.google.com/chrome\";s:7:\"img_src\";s:49:\"http://s.wordpress.org/images/browsers/chrome.png\";s:11:\"img_src_ssl\";s:48:\"https://wordpress.org/images/browsers/chrome.png\";s:15:\"current_version\";s:2:\"18\";s:7:\"upgrade\";b:0;s:8:\"insecure\";b:0;}','yes'),(27534,0,'_transient_timeout_dash_20494a3d90a6669585674ed0eb8dcd8f','1434701664','no'),(27535,0,'_transient_dash_20494a3d90a6669585674ed0eb8dcd8f','

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Six ELM albums now available online

\r\nELM has released six albums of his work to purchase on iTunes, Google Play and Amazon MP3. You can now buy the soundtracks for DrumChasers, Noise Ensemble, Ignite and two collections of assorted works, alongside his brand new Christmas album.','SLide 14','','publish','closed','closed','','the-score-for-ignite-by-elm-available-now','','','2013-11-23 14:20:38','2013-11-23 14:20:38','',0,'http://www.ethanlewismaltby.com/Home/?post_type=stylico-slide&p=490',0,'stylico-slide','',0),(521,1,'2014-06-29 23:03:40','2014-06-29 23:03:40','','europa-league-final','','inherit','closed','open','','europa-league-final','','','2014-06-29 23:03:40','2014-06-29 23:03:40','',520,'http://ethanlewismaltby.com/Home/wp-content/uploads/2014/06/europa-league-final.jpeg',0,'attachment','image/jpeg',0),(435,1,'2012-02-24 17:26:22','2012-02-24 17:26:22','','StephenDrumchasers','','inherit','closed','open','','stephendrumchasers','','','2012-02-24 17:26:22','2012-02-24 17:26:22','',56,'http://ethanlewismaltby.com/Home/wp-content/uploads/2011/03/StephenDrumchasers.jpg',0,'attachment','image/jpeg',0),(2,1,'2012-01-05 14:12:33','2012-01-05 14:12:33','','Sample Page','','private','closed','open','','sample-page','','','2012-02-21 16:11:14','2012-02-21 16:11:14','',0,'http://www.ethanlewismaltby.com/Home/?page_id=2',0,'page','',0),(14,1,'2012-01-05 19:54:46','2012-01-05 19:54:46','http://www.ethanlewismaltby.com/Home/wp-content/uploads/2012/01/Main-Design.jpg','Main-Design.jpg','','inherit','open','open','','main-design-jpg','','','2012-01-05 19:54:46','2012-01-05 19:54:46','',0,'http://www.ethanlewismaltby.com/Home/wp-content/uploads/2012/01/Main-Design.jpg',0,'attachment','image/jpeg',0),(24,1,'2012-01-16 15:09:35','2012-01-16 15:09:35','','Home','','inherit','open','open','','23-revision','','','2012-01-16 15:09:35','2012-01-16 15:09:35','',23,'http://www.ethanlewismaltby.com/Home/?p=24',0,'revision','',0),(25,1,'2012-01-16 15:09:47','2012-01-16 15:09:47','\"\"\r\n

Ethan Lewis Maltby is a British composer based in Canterbury, Kent. He writes music for TV, Theatre, Cinema and the Concert Hall.

\r\n

Maltby has scored many films and animations covering many different genres. He has collaborated with Spanish filmmaker Jesús Monllaó on several projects, scoring the award winning \'La Mirada Oblique\', \'Gloria\', and \'The Legacy\', and also with animator Kam-Li Cheng on her stunning animations, \'The Highwayman\' and \'Avatara\'. In late 2006, Maltby scored \'Waste Man\', the Channel 4 documentary on artist Antony Gormley and his sculpture. In theatre, Maltby composed the soundtrack for the first British virtual reality stage play, \'A Midsummer Night\'s Dream\', the score for Hungarian play \'Bloodletting\' and several musicals including \'Courtenay\' (with lyricist Christopher Neame).

\r\n

In 2004 Maltby created, composed and directed \'Noise Ensemble\', a percussion show which has been touring since 2006. This spectacular show has played extensively in UK theatres and venues including The South Bank Centre, Wembley Stadium and on TV\'s Blue Peter. It has also toured Russia, Belgium, Holland, South Korea, Switzerland, Norway and Cyprus. He also composed the score for the 2008 and 2009 FA Cup Final Opening Ceremonies – his track \'FA Overture\' has since become the players walk-on anthem for all major FA games.

\r\n

Maltby\'s latest theatrical show \'DrumChasers\' toured theatres throughout the UK in 2011 with narration by Stephen Fry and received rave reviews. He then finished the year by scoring The Brook Theatre\'s Christmas show, \'Snowy The Fox\'. Maltby recently finished scoring Jesús Monllaó\'s debut feature film \'Fill De Cain\' and the score for the national touring Dance Theatre piece \'Ignite\'.

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Review of DrumChasers – Tour 2

\r\n\r\nHere is a review of the second tour of DrumChasers by whatsonnortheast – Click here','Slide3','','publish','closed','closed','','slide-1','','','2012-01-16 22:30:42','2012-01-16 22:30:42','',0,'http://www.ethanlewismaltby.com/Home/?post_type=stylico-slide&p=5',0,'stylico-slide','',0),(8,1,'2012-01-05 14:59:16','2012-01-05 14:59:16','','ELM1','','inherit','open','open','','elm1','','','2012-01-05 14:59:16','2012-01-05 14:59:16','',5,'http://www.ethanlewismaltby.com/Home/wp-content/uploads/2012/01/ELM1.jpg',0,'attachment','image/jpeg',0),(9,1,'2012-01-16 22:08:24','2012-01-16 22:08:24','

Review of DrumChasers – Tour 2

\n\nHere is a review of the second tour of DrumChasers by whatsonnortheast – Click here','Slide2','','inherit','open','open','','5-autosave','','','2012-01-16 22:08:24','2012-01-16 22:08:24','',5,'http://www.ethanlewismaltby.com/Home/?p=9',0,'revision','',0),(10,1,'2014-01-06 21:55:19','2014-01-06 21:55:19','

Son of Cain out now worldwide

\r\nFill de Cain (Son of Cain) has enjoyed worldwide screenings and a national Spanish release with an original score by ELM. The film was warmly received at festivals in Montreal, Moscow, Miami, Mumbai and won best film at the Tudela Film Festival.\r\n','Slide1','','publish','closed','closed','','slide2','','','2014-01-09 23:44:21','2014-01-09 23:44:21','',0,'http://www.ethanlewismaltby.com/Home/?post_type=stylico-slide&p=10',0,'stylico-slide','',0),(11,1,'2013-11-23 14:16:07','2013-11-23 14:16:07','

Son of Cain out now worldwide

\nFill de Cain (Son of Cain) has enjoyed worldwide screening and a national Spanish release with an original score by ELM. The film was warmly received at film festivals in Montreal, Moscow, Miami, Mumbai\n\nSon of Cain wins Best Film at Tudela Film Festival','Slide1','','inherit','open','open','','10-autosave','','','2013-11-23 14:16:07','2013-11-23 14:16:07','',10,'http://www.ethanlewismaltby.com/Home/?p=11',0,'revision','',0),(19,1,'2012-01-05 21:53:11','2012-01-05 21:53:11','','04_slide','','inherit','open','open','','04_slide','','','2012-01-05 21:53:11','2012-01-05 21:53:11','',5,'http://www.ethanlewismaltby.com/Home/wp-content/uploads/2012/01/04_slide.jpg',0,'attachment','image/jpeg',0),(20,1,'2011-09-03 21:54:26','2011-09-03 21:54:26','

ELM completes score for Snowy The Fox

\r\n\r\nELM has completed the score for The Brook Theatre’s Christmas show, Snowy The Fox.','Slide2','','publish','closed','closed','','slide-3','','','2013-11-23 14:23:29','2013-11-23 14:23:29','',0,'http://www.ethanlewismaltby.com/Home/?post_type=stylico-slide&p=20',0,'stylico-slide','',0),(13,1,'2012-01-05 14:12:33','2012-01-05 14:12:33','This is an example page. It\'s different from a blog post because it will stay in one place and will show up in your site navigation (in most themes). Most people start with an About page that introduces them to potential site visitors. It might say something like this:\n\n
Hi there! I\'m a bike messenger by day, aspiring actor by night, and this is my blog. I live in Los Angeles, have a great dog named Jack, and I like piña coladas. (And gettin\' caught in the rain.)
\n\n...or something like this:\n\n
The XYZ Doohickey Company was founded in 1971, and has been providing quality doohickies to the public ever since. Located in Gotham City, XYZ employs over 2,000 people and does all kinds of awesome things for the Gotham community.
\n\nAs a new WordPress user, you should go to your dashboard to delete this page and create new pages for your content. Have fun!','Sample Page','','inherit','open','open','','2-revision','','','2012-01-05 14:12:33','2012-01-05 14:12:33','',2,'http://www.ethanlewismaltby.com/Home/?p=13',0,'revision','',0),(18,1,'2012-01-05 21:48:17','2012-01-05 21:48:17','','FillDeCain2','','inherit','open','open','','filldecain2','','','2012-01-05 21:48:17','2012-01-05 21:48:17','',10,'http://www.ethanlewismaltby.com/Home/wp-content/uploads/2012/01/FillDeCain2.jpg',0,'attachment','image/jpeg',0),(22,1,'2012-01-05 21:56:55','2012-01-05 21:56:55','More content here...','Slide3','','inherit','open','open','','20-autosave','','','2012-01-05 21:56:55','2012-01-05 21:56:55','',20,'http://www.ethanlewismaltby.com/Home/?p=22',0,'revision','',0),(26,1,'2012-01-16 15:09:44','2012-01-16 15:09:44','','About','','inherit','open','open','','25-revision','','','2012-01-16 15:09:44','2012-01-16 15:09:44','',25,'http://www.ethanlewismaltby.com/Home/?p=26',0,'revision','',0),(27,1,'2012-01-16 15:09:58','2012-01-16 15:09:58','','Reviews','','private','closed','open','','reviews','','','2012-02-21 16:11:14','2012-02-21 16:11:14','',0,'http://www.ethanlewismaltby.com/Home/?page_id=27',0,'page','',0),(28,1,'2012-01-16 15:09:52','2012-01-16 15:09:52','','News','','inherit','open','open','','27-revision','','','2012-01-16 15:09:52','2012-01-16 15:09:52','',27,'http://www.ethanlewismaltby.com/Home/?p=28',0,'revision','',0),(29,1,'2012-01-16 15:10:08','2012-01-16 15:10:08','[gravityform id=1 title=false description=true ajax=true]','Contact','','private','closed','open','','contact','','','2012-02-21 16:11:14','2012-02-21 16:11:14','',0,'http://www.ethanlewismaltby.com/Home/?page_id=29',0,'page','',0),(30,1,'2012-01-16 15:10:06','2012-01-16 15:10:06','','Work','','inherit','open','open','','29-revision','','','2012-01-16 15:10:06','2012-01-16 15:10:06','',29,'http://www.ethanlewismaltby.com/Home/?p=30',0,'revision','',0),(31,1,'2012-01-16 15:10:08','2012-01-16 15:10:08','Work','Work','','inherit','open','open','','29-revision-2','','','2012-01-16 15:10:08','2012-01-16 15:10:08','',29,'http://www.ethanlewismaltby.com/Home/?p=31',0,'revision','',0),(32,1,'2012-01-16 15:11:02','2012-01-16 15:11:02',' ','','','publish','open','open','','32','','','2012-01-23 14:25:33','2012-01-23 14:25:33','',0,'http://www.ethanlewismaltby.com/Home/?p=32',5,'nav_menu_item','',0),(33,1,'2012-01-16 15:11:02','2012-01-16 15:11:02',' ','','','publish','open','open','','33','','','2012-01-23 14:25:33','2012-01-23 14:25:33','',0,'http://www.ethanlewismaltby.com/Home/?p=33',4,'nav_menu_item','',0),(34,1,'2012-01-16 15:11:02','2012-01-16 15:11:02',' ','','','publish','open','open','','34','','','2012-01-23 14:25:33','2012-01-23 14:25:33','',0,'http://www.ethanlewismaltby.com/Home/?p=34',3,'nav_menu_item','',0),(144,1,'2012-01-20 16:17:14','2012-01-20 16:17:14','\"\"\r\n\r\nEthan Lewis Maltby is a British composer based in Canterbury, Kent. He writes music for TV, Theatre, Cinema and the Concert Hall.\r\n\r\nMaltby has scored many films and animations covering many different genres. He has collaborated with Spanish filmmaker Jesús Monllaó on several projects, scoring the award winning \'La Mirada Oblique\', \'Gloria\', and \'The Legacy\', and also with animator Kam-Li Cheng on her stunning animations, \'The Highwayman\' and \'Avatara\'. In late 2006, Maltby scored \'Waste Man\', the Channel 4 documentary on artist Antony Gormley and his sculpture. In theatre, Maltby composed the soundtrack for the first British virtual reality stage play, \'A Midsummer Night\'s Dream\', the score for Hungarian play \'Bloodletting\' and several musicals including \'Courtenay\' (with lyricist Christopher Neame).\r\n\r\nIn 2004 Maltby created, composed and directed \'Noise Ensemble\', a percussion show which has been touring since 2006. This spectacular show has played extensively in UK theatres and venues including The South Bank Centre, Wembley Stadium and on TV\'s Blue Peter. It has also toured Russia, Belgium, Holland, South Korea, Switzerland, Norway and Cyprus. He also composed the score for the 2008 and 2009 FA Cup Final Opening Ceremonies – his track \'FA Overture\' has since become the player\'s walk-on anthem for all major FA games.\r\n\r\nMaltby\'s latest theatrical show \'DrumChasers\' toured the UK in 2011 with narration by Stephen Fry and received many favourable reviews. He is currently back working on his new musical \'Apparition Smith\' before starting pre-production on the score for Jesús Monllaó\'s debut feature film \'Querido Cain\'.','About','','inherit','closed','open','','25-revision-8','','','2012-01-20 16:17:14','2012-01-20 16:17:14','',25,'http://www.ethanlewismaltby.com/Home/25-revision-8/',0,'revision','',0),(36,1,'2012-01-16 15:11:12','2012-01-16 15:11:12','
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DrumChasers Autumn UK Tour begins

\r\n\r\nDrumChasers starts its second UK tour today in Dartford.','Slide 4','','publish','closed','closed','','slide-4','','','2012-01-16 22:23:06','2012-01-16 22:23:06','',0,'http://www.ethanlewismaltby.com/Home/?post_type=stylico-slide&p=44',0,'stylico-slide','',0),(45,1,'2012-01-16 22:21:46','2012-01-16 22:21:46','','DrumChasersPoster','','inherit','open','open','','drumchasersposter','','','2012-01-16 22:21:46','2012-01-16 22:21:46','',44,'http://www.ethanlewismaltby.com/Home/wp-content/uploads/2012/01/DrumChasersPoster.jpg',0,'attachment','image/jpeg',0),(46,1,'2011-06-21 22:32:00','2011-06-21 22:32:00','

ELM brought on as Music Supervisor for UEFA match

\r\n\r\nELM supervised the music for the opening and closing ceremonies of the UEFA Under 21s Football tournament in Aalborg, Denmark.','Slide 5','','publish','closed','closed','','slide-5','','','2012-01-16 22:34:12','2012-01-16 22:34:12','',0,'http://www.ethanlewismaltby.com/Home/?post_type=stylico-slide&p=46',0,'stylico-slide','',0),(47,1,'2012-01-16 22:34:06','2012-01-16 22:34:06','','MusicSupervisor','','inherit','open','open','','musicsupervisor','','','2012-01-16 22:34:06','2012-01-16 22:34:06','',46,'http://www.ethanlewismaltby.com/Home/wp-content/uploads/2011/06/MusicSupervisor.jpeg',0,'attachment','image/jpeg',0),(48,1,'2011-05-21 22:42:51','2011-05-21 22:42:51','

ELM commissioned to score opening ceremony for UEFA

\r\n\r\nELM has written the score for the opening ceremony of the UEFA Women\'s Champions League Final at Wembley.','Slide 6','','publish','closed','closed','','slide-6','','','2012-01-16 22:44:19','2012-01-16 22:44:19','',0,'http://www.ethanlewismaltby.com/Home/?post_type=stylico-slide&p=48',0,'stylico-slide','',0),(49,1,'2012-01-16 22:42:34','2012-01-16 22:42:34','','WomensUEFA','','inherit','open','open','','womensuefa','','','2012-01-16 22:42:34','2012-01-16 22:42:34','',48,'http://www.ethanlewismaltby.com/Home/wp-content/uploads/2012/01/WomensUEFA.jpeg',0,'attachment','image/jpeg',0),(50,1,'2011-04-11 22:47:24','2011-04-11 22:47:24','

Review of DrumChasers – Tour 1

\r\n\r\nHere is a DrumChasers review by The York Press - Click here\r\n','Slide 7','','publish','closed','closed','','slide-7','','','2012-01-16 22:47:45','2012-01-16 22:47:45','',0,'http://www.ethanlewismaltby.com/Home/?post_type=stylico-slide&p=50',0,'stylico-slide','',0),(51,1,'2012-01-16 22:47:12','2012-01-16 22:47:12','','DrumChasersTour1','','inherit','open','open','','drumchaserstour1','','','2012-01-16 22:47:12','2012-01-16 22:47:12','',50,'http://www.ethanlewismaltby.com/Home/wp-content/uploads/2012/01/DrumChasersTour1.jpg',0,'attachment','image/jpeg',0),(52,1,'2011-04-01 22:51:22','2011-04-01 22:51:22','

Stacey Solomon and the 2011 FA Cup final

\r\n\r\nELM arrangement of Queen’s We Are The Champions is performed by Stacey Solomon at Wembley as part of the FA Cup Final Opening Ceremony. He also conducted Stacey in her rendition of the National Anthem.','Slide 8','','publish','closed','closed','','slide-8','','','2012-01-16 22:52:35','2012-01-16 22:52:35','',0,'http://www.ethanlewismaltby.com/Home/?post_type=stylico-slide&p=52',0,'stylico-slide','',0),(53,1,'2012-01-16 22:51:17','2012-01-16 22:51:17','Stacey Solomon sings the National Anthem','Soccer - FA Cup - Final - Manchester City v Stoke City - Wembley Stadium','','inherit','open','open','','soccer-fa-cup-final-manchester-city-v-stoke-city-wembley-stadium','','','2012-01-16 22:51:17','2012-01-16 22:51:17','',52,'http://www.ethanlewismaltby.com/Home/wp-content/uploads/2012/01/StaceySolomon.jpeg',0,'attachment','image/jpeg',0),(54,1,'2011-03-15 22:56:59','2011-03-15 22:56:59','

DrumChasers begins its first UK Tour

\r\n\r\nThe DrumChasers spring tour kicked off today in Blackpool to rave reviews.','Slide 9','','publish','closed','closed','','slide-9','','','2012-01-16 22:57:11','2012-01-16 22:57:11','',0,'http://www.ethanlewismaltby.com/Home/?post_type=stylico-slide&p=54',0,'stylico-slide','',0),(55,1,'2012-01-16 22:56:52','2012-01-16 22:56:52','','DrumChasersTourStarts','','inherit','open','open','','drumchaserstourstarts','','','2012-01-16 22:56:52','2012-01-16 22:56:52','',54,'http://www.ethanlewismaltby.com/Home/wp-content/uploads/2012/01/DrumChasersTourStarts.jpg',0,'attachment','image/jpeg',0),(56,1,'2013-03-02 22:59:06','2013-03-02 22:59:06','

Stephen Fry signs on to narrate DrumChasers!

\r\n\r\nThe phenomenal Stephen Fry has signed on to provide the voice of the narrator for DrumChasers!','Slide 10','','publish','closed','closed','','slide-10','','','2014-01-09 23:45:59','2014-01-09 23:45:59','',0,'http://www.ethanlewismaltby.com/Home/?post_type=stylico-slide&p=56',0,'stylico-slide','',0),(57,1,'2012-01-16 22:59:02','2012-01-16 22:59:02','','StephenFry','','inherit','open','open','','stephenfry','','','2012-01-16 22:59:02','2012-01-16 22:59:02','',56,'http://www.ethanlewismaltby.com/Home/wp-content/uploads/2012/01/StephenFry.jpg',0,'attachment','image/jpeg',0),(58,1,'2011-02-28 23:03:33','2011-02-28 23:03:33','

ELM directs the first theatrical tour of his new show

\r\n\r\nELM is currently directing the first production of his new percussion show, DrumChasers which begins a national tour in March.','Slide 11','','publish','closed','closed','','slide-11','','','2012-01-16 23:03:49','2012-01-16 23:03:49','',0,'http://www.ethanlewismaltby.com/Home/?post_type=stylico-slide&p=58',0,'stylico-slide','',0),(59,1,'2012-01-16 23:03:27','2012-01-16 23:03:27','','ELMDirectingDrumChasers','','inherit','open','open','','elmdirectingdrumchasers','','','2012-01-16 23:03:27','2012-01-16 23:03:27','',58,'http://www.ethanlewismaltby.com/Home/wp-content/uploads/2012/01/ELMDirectingDrumChasers.png',0,'attachment','image/png',0),(60,1,'2011-01-06 23:07:00','2011-01-06 23:07:00','

www.DrumChasers.com is now live!

\r\nThe website is now live for ELM’s brand new show DrumChasers – created and composed by ELM, it premiers in the UK in March and is the follow up to his smash hit Noise Ensemble. Visit www.drumchasers.com!','Slide 12','','publish','closed','closed','','slide-12','','','2012-01-16 23:07:19','2012-01-16 23:07:19','',0,'http://www.ethanlewismaltby.com/Home/?post_type=stylico-slide&p=60',0,'stylico-slide','',0),(61,1,'2012-01-16 23:06:51','2012-01-16 23:06:51','','DrumChasersWebsite','','inherit','open','open','','drumchaserswebsite','','','2012-01-16 23:06:51','2012-01-16 23:06:51','',60,'http://www.ethanlewismaltby.com/Home/wp-content/uploads/2012/01/DrumChasersWebsite.png',0,'attachment','image/png',0),(62,1,'2012-01-10 23:12:15','2012-01-10 23:12:15','

ELM’s FA Overture used for the last five years by the FA

\r\nELM’s track FA Overture which was composed for the FA Cup Final in 2008, has been used for the last five years as entrance music for the players at all main FA matches.','Slide 13','','publish','closed','closed','','slide-13','','','2013-11-23 14:22:20','2013-11-23 14:22:20','',0,'http://www.ethanlewismaltby.com/Home/?post_type=stylico-slide&p=62',0,'stylico-slide','',0),(63,1,'2012-01-16 23:12:10','2012-01-16 23:12:10','','NoiseEnsembleFA','','inherit','open','open','','noiseensemblefa','','','2012-01-16 23:12:10','2012-01-16 23:12:10','',62,'http://www.ethanlewismaltby.com/Home/wp-content/uploads/2012/01/NoiseEnsembleFA.jpg',0,'attachment','image/jpeg',0),(64,1,'2010-09-20 23:14:17','2010-09-20 23:14:17','

New site launched!

\r\n\r\nThe official website for British composer Ethan Lewis Maltby has launched today. It contains news, videos, photos and music. Check back for regular updates.','Slide 14','','publish','closed','closed','','slide-14','','','2012-01-16 23:14:29','2012-01-16 23:14:29','',0,'http://www.ethanlewismaltby.com/Home/?post_type=stylico-slide&p=64',0,'stylico-slide','',0),(65,1,'2012-01-16 23:13:47','2012-01-16 23:13:47','','WebsiteLaunch','','inherit','open','open','','websitelaunch','','','2012-01-16 23:13:47','2012-01-16 23:13:47','',64,'http://www.ethanlewismaltby.com/Home/wp-content/uploads/2012/01/WebsiteLaunch.jpg',0,'attachment','image/jpeg',0),(100,1,'2012-01-20 13:58:11','2012-01-20 13:58:11','','149819944_640','','inherit','closed','open','','149819944_640','','','2012-01-20 13:58:11','2012-01-20 13:58:11','',0,'http://www.ethanlewismaltby.com/Home/wp-content/uploads/2012/01/149819944_640.jpeg',0,'attachment','image/jpeg',0),(307,1,'2012-02-03 19:01:43','2012-02-03 19:01:43','
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','Media','','inherit','closed','open','','36-revision-97','','','2012-02-03 19:01:43','2012-02-03 19:01:43','',36,'http://www.ethanlewismaltby.com/Home/36-revision-97/',0,'revision','',0),(67,1,'2012-02-21 15:32:25','2012-02-21 15:32:25','
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','Media','','inherit','open','open','','36-autosave','','','2012-02-21 15:32:25','2012-02-21 15:32:25','',36,'http://www.ethanlewismaltby.com/Home/?p=67',0,'revision','',0),(68,1,'2012-01-16 15:11:12','2012-01-16 15:11:12','Work','Work','','inherit','open','open','','36-revision-2','','','2012-01-16 15:11:12','2012-01-16 15:11:12','',36,'http://www.ethanlewismaltby.com/Home/?p=68',0,'revision','',0),(149,1,'2012-01-20 20:12:00','2012-01-20 20:12:00','[fancygallery id=\'ethans-work\']','Video','','inherit','closed','open','','27-revision-11','','','2012-01-20 20:12:00','2012-01-20 20:12:00','',27,'http://www.ethanlewismaltby.com/Home/27-revision-11/',0,'revision','',0),(69,1,'2012-01-16 15:09:47','2012-01-16 15:09:47','About','About','','inherit','closed','open','','25-revision-2','','','2012-01-16 15:09:47','2012-01-16 15:09:47','',25,'http://www.ethanlewismaltby.com/Home/?p=69',0,'revision','',0),(70,1,'2012-01-16 15:10:21','2012-01-16 15:10:21','Contact','Contact','','inherit','closed','open','','29-revision-3','','','2012-01-16 15:10:21','2012-01-16 15:10:21','',29,'http://www.ethanlewismaltby.com/Home/?p=70',0,'revision','',0),(71,1,'2012-01-16 15:09:38','2012-01-16 15:09:38','Home','Home','','inherit','closed','open','','23-revision-2','','','2012-01-16 15:09:38','2012-01-16 15:09:38','',23,'http://www.ethanlewismaltby.com/Home/?p=71',0,'revision','',0),(72,1,'2012-01-16 15:09:58','2012-01-16 15:09:58','News','News','','inherit','closed','open','','27-revision-2','','','2012-01-16 15:09:58','2012-01-16 15:09:58','',27,'http://www.ethanlewismaltby.com/Home/?p=72',0,'revision','',0),(73,1,'2012-01-05 17:00:04','2012-01-05 17:00:04','','Sample Page','','inherit','closed','open','','2-revision-2','','','2012-01-05 17:00:04','2012-01-05 17:00:04','',2,'http://www.ethanlewismaltby.com/Home/?p=73',0,'revision','',0),(74,1,'2012-01-17 18:31:44','2012-01-17 18:31:44','[dj_manager_mp id=\"Theatre\"]Work','Work','','inherit','closed','open','','36-revision-3','','','2012-01-17 18:31:44','2012-01-17 18:31:44','',36,'http://www.ethanlewismaltby.com/Home/?p=74',0,'revision','',0),(75,1,'2012-01-17 18:41:27','2012-01-17 18:41:27','[dj_manager_mp id=\"Theatre\"]Work','Work','','inherit','closed','open','','36-revision-4','','','2012-01-17 18:41:27','2012-01-17 18:41:27','',36,'http://www.ethanlewismaltby.com/Home/?p=75',0,'revision','',0),(134,1,'2012-01-20 18:26:53','2012-01-20 18:26:53','
\r\n[dj_manager_mp id=\"Theatre\"]\r\n
\r\n\r\n ','Work','','inherit','closed','open','','36-revision-28','','','2012-01-20 18:26:53','2012-01-20 18:26:53','',36,'http://www.ethanlewismaltby.com/Home/36-revision-28/',0,'revision','',0),(76,1,'2012-01-17 18:46:00','2012-01-17 18:46:00','[dj_manager_mp id=\"Theatre\"]Work\r\n\r\n \r\n\r\nfghfgh\r\n\r\nfghf\r\n\r\ng\r\n\r\nhfg\r\n\r\nhfg\r\n\r\nhfg\r\n\r\nhfg\r\n\r\nhf\r\n\r\nghf\r\n\r\ngh\r\n\r\nfgh\r\n\r\nfg\r\n\r\nh\r\n\r\nfghfg\r\n\r\nh\r\n\r\nfgh\r\n\r\nfgh\r\n\r\nfgh','Work','','inherit','closed','open','','36-revision-5','','','2012-01-17 18:46:00','2012-01-17 18:46:00','',36,'http://www.ethanlewismaltby.com/Home/?p=76',0,'revision','',0),(129,1,'2012-01-20 18:19:33','2012-01-20 18:19:33','Work\r\n[dj_manager_mp id=\"Theatre\"]\r\n
\r\n\r\n[aapp type=\"link\" linktext=\"Check out this sample tune!\"]\r\n\r\n[track title=\"Man With Small F (The Inaccessible PDF Song)\" format=\"mp3 ogg\"]\r\n\r\nhttp://terrillthompson.com/music/audio/mp3files/smallf\r\n\r\n[/track]\r\n\r\n[/aapp]\r\n\r\n
\r\n ','Work','','inherit','closed','open','','36-revision-23','','','2012-01-20 18:19:33','2012-01-20 18:19:33','',36,'http://www.ethanlewismaltby.com/Home/36-revision-23/',0,'revision','',0),(128,1,'2012-01-20 18:18:37','2012-01-20 18:18:37','Work\r\n[dj_manager_mp id=\"Theatre\"]\r\n
\r\n\r\nCheck out [aapp type=\"link\" linktext=\"my tribute to Paul Allen\"]\r\n[track title=\"The Paul Allen Song\" format=\"mp3\"]\r\nhttp://terrillthompson.com/music/audio/mp3/paulallen1\r\n[/track]\r\n[track title=\"The Paul Allen Song\" format=\"ogg\"]\r\nhttp://terrillthompson.com/music/audio/ogg/paulallen2\r\n[/track]\r\n[/aapp] from the Flow Theory Flavors CD.\r\n\r\n
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\r\n\r\n[aapp type=\"player\"]\r\n[track title=\"The Paul Allen Song\" format=\"mp3 ogg\"]\r\nhttp://terrillthompson.com/music/audio/paulallen\r\n[/track]\r\n[track title=\"Une Chanson Française\" format=\"mp3 ogg\" lang=\"fr\"]\r\nhttp://terrillthompson.com/music/audio/frenchsong\r\n[/track]\r\n[/aapp]\r\n\r\n
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Work\r\n\r\n\r\n\r\nSed ut perspiciatis unde omnis iste natus error sit voluptatem accusantium doloremque laudantium, totam rem aperiam, eaque ipsa quae ab illo inventore veritatis et quasi architecto beatae vitae dicta sunt explicabo. Nemo enim ipsam voluptatem quia voluptas sit aspernatur aut odit aut fugit, sed quia consequuntur magni dolores eos qui ratione voluptatem sequi nesciunt. Neque porro quisquam est, qui dolorem ipsum quia dolor sit amet, consectetur, adipisci velit, sed quia non numquam eius modi tempora incidunt ut labore et dolore magnam aliquam quaerat voluptatem. Ut enim ad minima veniam, quis nostrum exercitationem ullam corporis suscipit laboriosam, nisi ut aliquid ex ea commodi consequatur? Quis autem vel eum iure reprehenderit qui in ea voluptate velit esse quam nihil molestiae consequatur, vel illum qui dolorem eum fugiat quo voluptas nulla pariatur?','Work','','inherit','closed','open','','36-revision-10','','','2012-01-17 19:44:36','2012-01-17 19:44:36','',36,'http://www.ethanlewismaltby.com/Home/?p=81',0,'revision','',0),(79,1,'2012-01-17 19:42:22','2012-01-17 19:42:22','
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Work\r\n\r\n \r\n\r\nSed ut perspiciatis unde omnis iste natus error sit voluptatem accusantium doloremque laudantium, totam rem aperiam, eaque ipsa quae ab illo inventore veritatis et quasi architecto beatae vitae dicta sunt explicabo. Nemo enim ipsam voluptatem quia voluptas sit aspernatur aut odit aut fugit, sed quia consequuntur magni dolores eos qui ratione voluptatem sequi nesciunt. Neque porro quisquam est, qui dolorem ipsum quia dolor sit amet, consectetur, adipisci velit, sed quia non numquam eius modi tempora incidunt ut labore et dolore magnam aliquam quaerat voluptatem. Ut enim ad minima veniam, quis nostrum exercitationem ullam corporis suscipit laboriosam, nisi ut aliquid ex ea commodi consequatur? Quis autem vel eum iure reprehenderit qui in ea voluptate velit esse quam nihil molestiae consequatur, vel illum qui dolorem eum fugiat quo voluptas nulla pariatur?','Work','','inherit','closed','open','','36-revision-8','','','2012-01-17 19:42:22','2012-01-17 19:42:22','',36,'http://www.ethanlewismaltby.com/Home/?p=79',0,'revision','',0),(80,1,'2012-01-17 19:42:39','2012-01-17 19:42:39','
[dj_manager_mp id=\"Theatre\"]
Work\r\n\r\n\r\n\r\nSed ut perspiciatis unde omnis iste natus error sit voluptatem accusantium doloremque laudantium, totam rem aperiam, eaque ipsa quae ab illo inventore veritatis et quasi architecto beatae vitae dicta sunt explicabo. Nemo enim ipsam voluptatem quia voluptas sit aspernatur aut odit aut fugit, sed quia consequuntur magni dolores eos qui ratione voluptatem sequi nesciunt. Neque porro quisquam est, qui dolorem ipsum quia dolor sit amet, consectetur, adipisci velit, sed quia non numquam eius modi tempora incidunt ut labore et dolore magnam aliquam quaerat voluptatem. Ut enim ad minima veniam, quis nostrum exercitationem ullam corporis suscipit laboriosam, nisi ut aliquid ex ea commodi consequatur? Quis autem vel eum iure reprehenderit qui in ea voluptate velit esse quam nihil molestiae consequatur, vel illum qui dolorem eum fugiat quo voluptas nulla pariatur?','Work','','inherit','closed','open','','36-revision-9','','','2012-01-17 19:42:39','2012-01-17 19:42:39','',36,'http://www.ethanlewismaltby.com/Home/?p=80',0,'revision','',0),(132,1,'2012-01-20 18:22:41','2012-01-20 18:22:41','Work\r\n[dj_manager_mp id=\"Theatre\"]\r\n\r\n ','Work','','inherit','closed','open','','36-revision-26','','','2012-01-20 18:22:41','2012-01-20 18:22:41','',36,'http://www.ethanlewismaltby.com/Home/36-revision-26/',0,'revision','',0),(130,1,'2012-01-20 18:20:51','2012-01-20 18:20:51','Work\r\n[dj_manager_mp id=\"Theatre\"]\r\n
\r\n\r\n[aapp type=\"player\"]\r\n[track title=\"The Paul Allen Song\" format=\"mp3 ogg\"]\r\nhttp://terrillthompson.com/music/audio/paulallen\r\n[/track]\r\n[track title=\"Une Chanson Française\" format=\"mp3 ogg\" lang=\"fr\"]\r\nhttp://terrillthompson.com/music/audio/frenchsong\r\n[/track]\r\n[/aapp]\r\n\r\n
\r\n ','Work','','inherit','closed','open','','36-revision-24','','','2012-01-20 18:20:51','2012-01-20 18:20:51','',36,'http://www.ethanlewismaltby.com/Home/36-revision-24/',0,'revision','',0),(131,1,'2012-01-20 18:21:10','2012-01-20 18:21:10','Work\r\n[dj_manager_mp id=\"Theatre\"]\r\n
\r\n\r\n[aapp type=\"player\"]\r\n[track title=\"The Paul Allen Song\" format=\"mp3 ogg\"]\r\nhttp://terrillthompson.com/music/audio/paulallen\r\n[/track]\r\n[track title=\"Une Chanson Française\" format=\"mp3 ogg\"]\r\nhttp://terrillthompson.com/music/audio/frenchsong\r\n[/track]\r\n[/aapp]\r\n\r\n
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He writes music for TV, Theatre, Cinema and the Concert Hall.\r\n\r\nMaltby has scored many films and animations covering many different genres. He has collaborated with Spanish filmmaker Jesús Monllaó on several projects, scoring the award winning \'La Mirada Oblique\', \'Gloria\', and \'The Legacy\', and also with animator Kam-Li Cheng on her stunning animations, \'The Highwayman\' and \'Avatara\'. In late 2006, Maltby scored \'Waste Man\', the Channel 4 documentary on artist Antony Gormley and his sculpture. In theatre, Maltby composed the soundtrack for the first British virtual reality stage play, \'A Midsummer Night\'s Dream\', the score for Hungarian play \'Bloodletting\' and several musicals including \'Courtenay\' (with lyricist Christopher Neame).\r\n\r\nIn 2004 Maltby created, composed and directed \'Noise Ensemble\', a percussion show which has been touring since 2006. 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Ethan Lewis Maltby is a British composer based in Canterbury, Kent. He writes music for TV, Theatre, Cinema and the Concert Hall.

\n

Maltby has scored many films and animations covering many different genres. He has collaborated with Spanish filmmaker Jesús Monllaó on several projects, scoring the award winning \'La Mirada Oblique\', \'Gloria\', and \'The Legacy\', and also with animator Kam-Li Cheng on her stunning animations, \'The Highwayman\' and \'Avatara\'. In late 2006, Maltby scored \'Waste Man\', the Channel 4 documentary on artist Antony Gormley and his sculpture. In theatre, Maltby composed the soundtrack for the first British virtual reality stage play, \'A Midsummer Night\'s Dream\', the score for Hungarian play \'Bloodletting\' and several musicals including \'Courtenay\' (with lyricist Christopher Neame).

\n

In 2004 Maltby created, composed and directed \'Noise Ensemble\', a percussion show which has been touring since 2006. This spectacular show has played extensively in UK theatres and venues including The South Bank Centre, Wembley Stadium and on TV\'s Blue Peter. It has also toured Russia, Belgium, Holland, South Korea, Switzerland, Norway and Cyprus. He also composed the score for the 2008 and 2009 FA Cup Final Opening Ceremonies – his track \'FA Overture\' has since become the players walk-on anthem for all major FA games.

\n

Maltby\'s latest theatrical show \'DrumChasers\' toured theatres throughout the UK in 2011 with narration by Stephen Fry and received rave reviews. He then finished the year by scoring The Brook Theatre\'s Christmas show, \'Snowy The Fox\'. Maltby recently finished scoring Jesús Monllaó\'s debut feature film \'Fill De Cain\' and the score for the national touring Dance Theatre piece \'Ignite\'.

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ELM’s FA Overture used for the last five years by the FA

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(To tell you a secret, all my life I have wished I had been in the audience for the first showing of the Rocky Horror Show, way back before the midnight costume parties and the huge cult following but alas no, I was destined just to be a follower.)\r\n\r\nWell after tonight I honestly believe that in years to come I can stand proud and say “Yes, I saw it before they took the West End by storm”.\r\n\r\nEthan Lewis Maltby’s DrumChasers is unlike any other show I have ever seen; a mesmerising blend of unbelievable drumming coupled with beautiful dancing all set to a futuristic tale of power, rivalry and love. Actually, to say its all drumming is doing a grave dis-service to the whole percussion experience including some truly beautiful glokenspiel melodies. This is story-telling-without-words at its best and it had me hooked from the first beat to the very last.\r\n\r\nGeorgina King’s choreography is wonderfully synchronised, evocotive and yet simple, but it’s not until you really watch the stage that you realise that it’s no mean feat to match expressive dance with demanding drumming & exacting rhythms.\r\n\r\nMake no mistake, this is not a show of 10 drummers simply stood on stage; each character has their own story, their own personality which they bring to the fore through genuine acting (there is no dialogue at all which makes the story telling even more engaging) and very quickly you understand the premise of the show, even before Stephen Fry’s narration of the Noiseland Tale (written by Jenna Donnelly) comes in about half way through act 1.\r\n\r\nThe story, without wanting to give too much away, is about a race of people, the Drumchasers from Noiseland, who, through the loss of a worshipped relic become fractured and warring. This relic finds it’s way to earth and is discovered by Mr Bennet, a stage caretaker (played wonderfully by somebody’s grandad – actually its none other than Mr Jack Warner). His unwitting discovery prompts the Drumchasers and their guardian peacekeeper Weckl (deliciously played by the vampish Rachel Stock) to come to earth and continue their rivalry. This is done through what I can only describe as battle drumming, a sort of dance off using percussion.\r\n\r\nThrough all of this we are treated to the impish mischief of Gene (played by Amy Kelly), the macho posturing of Blades & Vinnie (James Hulme & James Godfrey) and an age old story of two lovers from the opposite sides. Playing out like a futuristic West Side Story, Buddy (a very dishy Simon Morgan-Thomas, according to my daughter) and Eve (a very cute Stephanie Clarke) try to unite the two sides but as with all torn-lovers tales, it is far from easy.\r\n\r\nAs the story works towards its conclusion the beats become more frantic, the surprises get bigger and the choreography even more impressive (there’s a great scene set in almost complete darkness – honest, believe me!). I won’t spoil things by telling you the rest of the show, ‘cept to say that you should really seek out this production, take the family and go lose yourself in the rhythm.\r\n\r\nAt the end, once the final curtain came down, there was a quiet sense of awe in the audience, almost like a collective reasoning, like we had shared a moment. We probably had as no-one truly knew what to expect, yet everyone agreed it was awesome.\r\n\r\nThere have been some iconic shows which define or even create their own genres; Riverdance, Cirque de Soliel, The Mousetrap, We Will Rock You – I believe that we have seen another tonight which could do the same – it truly is that special that I urge anyone to treat themselves and go and see it this weekend.','What\'s On Northeast','On DrumChasers...\"It had me hooked from the first beat to the very last.\"','publish','closed','closed','','review-1','','','2015-06-18 20:15:20','2015-06-18 20:15:20','',0,'http://www.ethanlewismaltby.com/Home/?p=168',0,'post','',0),(449,1,'2012-02-25 13:13:24','2012-02-25 13:13:24','Mid Hants Observer – Noise Ensemble -  The Nuffield, Southampton\r\n\r\nAn extract from the article/review “Tub thumping”\r\n\r\nIt was with some trepidation that I approached Noise Ensemble, billed as an “international percussion sensation”… Any misgivings I may have had were instantly extinguished when a voice announced that the following performance would contain “graphic beatings and scenes of a percussive nature.” A statement of intent that hinted that Noise Ensemble didn’t take itself too seriously. From this point on we were treated to a riotous evening of non stop entertainment.\r\n\r\nNoise Ensemble is a new and unique twist on musical theatre, with Ethan Lewis Maltby’s score brought vividly to life by a troupe of ten young, beautiful and obscenely talented percussionists. My notes from the night are sketchy at best, a reflection of how much I was enjoying the show. A couple of legible entries mention rock band with xylophones (certainly no bad thing in my book ), the tongue in cheek cable TV-style interludes, and a real ‘vaudevillian feel’ (don’t ask how I wrote that in the dark), with comic interludes reminiscent of traditional circus clowns.\r\n\r\nMusically speaking, there were moments of jaw-dropping beauty, particularly the interplay between marimbas, xylophones and the rest of the percussive arsenal. Noise Ensemble covers a lot of ground. Late in the set we were treated to some 70s style wah-wah guitar and choreography that appeared to pay homage to West Side Story, unsurprising elements when you consider the composer’s background in film scores.\r\n\r\nNoise Ensemble is certainly unique, relentlessly entertaining and shot through with plenty of humour, delivered by an impossibly good looking cast. It’s an energetic show that I would have no hesitation in recommending to audiences of all ages. Another demonstration of The Nuffield’s commitment to original and spectacular productions. On top of that I’ve had to reappraise my relationship with drums and drumming. For now at least.','Mid Hants Observer ','On Noise Ensemble... \"a new and unique twist on musical theatre, with Ethan Lewis Maltby’s score brought vividly to life by a troupe of ten young, beautiful and obscenely talented percussionists. 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Excepteur sint occaecat cupidatat non proident, sunt in culpa qui officia deserunt mollit anim id est laborum.','Review 1','','inherit','closed','open','','168-revision-3','','','2012-01-23 16:20:16','2012-01-23 16:20:16','',168,'http://www.ethanlewismaltby.com/Home/168-revision-3/',0,'revision','',0),(172,1,'2012-02-25 13:40:29','2012-02-25 13:40:29','By Jonathan Wilkes\r\n\r\nNoise Ensemble’s epic musical DrumChasers, replacing vocals with percussion, is an explosive display of sound and light. Eleven virtuosic performers with endless energy and talent offered a mesmerising experience and a beautiful story.\r\n\r\nCaretaker at a concert hall, Mr Bennett (Jack Warner), witnesses a doorway opening to a dystopian world where people play percussion instruments, inlcuding drums, xylophones and triangles, as communication. And Noiseland’s inhabitants play extremely well, never missing a beat.\r\n\r\nA Dr Seuss-esque narration by Stephen Fry tells us they are caught in an age-old feud. War is prevented only by the mystical powers of the Noise Wrangler and her purple lightsabres. A blossoming Romeo and Juliet romance and a discovery by Mr Bennett however could lead to peace.\r\n\r\nThe truly spectacular DrumChasers leaves one in awe of how every element worked in exquisite harmony. It perfectly balanced gravitas and self-deprecation so the audience (which should have been bigger) never doubted Noise Ensemble’s soulful tale.\r\n\r\nThe melodious music, accompanied by a spellbinding orchestral and electric score, was extraordinary: powerful, stentorian drumming quickly followed by more melodious, playful flourishes on xylophones and glockenspiels.\r\n\r\nIt had action, romance, poignancy and comedy – a pitch-black performance with glow-in-the-dark levitating drums being especially funny. The industrial set and apocalyptic costumes, and a literally breath-taking lighting design, really enhanced the production.\r\n\r\nSpecial mention must go to Georgina King for the exhilarating choreography and to composer, director and creator Ethan Lewis Maltby.\r\n\r\nHis resplendent production is a profoundly affecting and memorable theatrical experience.\r\n\r\nHere’s hoping the doorway to Noiseland opens again.','The York Press','On DrumChasers...\"The melodious music, accompanied by a spellbinding orchestral and electric score, was extraordinary: powerful...\"','publish','closed','closed','','review-2','','','2015-06-18 20:15:20','2015-06-18 20:15:20','',0,'http://www.ethanlewismaltby.com/Home/?p=172',0,'post','',0),(448,1,'2012-01-23 20:52:42','2012-01-23 20:52:42','DrumChasers at the Civic – A New Masterpiece\r\n\r\n \r\n\r\nBy Andy Bramfitt\r\n\r\n \r\n\r\nYou know, with all the social media, tweeting, facebook etc I honestly thought that the days of finding a new show for which I had no ideas, expectations or pre-conceptions was sadly over. (To tell you a secret, all my life I have wished I had been in the audience for the first showing of the Rocky Horror Show, way back before the midnight costume parties and the huge cult following but alas no, I was destined just to be a follower.)\r\n\r\n \r\n\r\nWell after tonight I honestly believe that in years to come I can stand proud and say “Yes, I saw it before they took the West End by storm”.\r\n\r\n \r\n\r\nEthan Lewis Maltby’s DrumChasers is unlike any other show I have ever seen; a mesmerising blend of unbelievable drumming coupled with beautiful dancing all set to a futuristic tale of power, rivalry and love. Actually, to say its all drumming is doing a grave dis-service to the whole percussion experience including some truly beautiful glokenspiel melodies. This is story-telling-without-words at its best and it had me hooked from the first beat to the very last.\r\n\r\n \r\n\r\nGeorgina King’s choreography is wonderfully synchronised, evocotive and yet simple, but it’s not until you really watch the stage that you realise that it’s no mean feat to match expressive dance with demanding drumming & exacting rhythms.\r\n\r\n \r\n\r\nMake no mistake, this is not a show of 10 drummers simply stood on stage; each character has their own story, their own personality which they bring to the fore through genuine acting (there is no dialogue at all which makes the story telling even more engaging) and very quickly you understand the premise of the show, even before Stephen Fry’s narration of the Noiseland Tale (written by Jenna Donnelly) comes in about half way through act 1.\r\n\r\n \r\n\r\nThe story, without wanting to give too much away, is about a race of people, the Drumchasers from Noiseland, who, through the loss of a worshipped relic become fractured and warring. This relic finds it’s way to earth and is discovered by Mr Bennet, a stage caretaker (played wonderfully by somebody’s grandad – actually its none other than Mr Jack Warner). His unwitting discovery prompts the Drumchasers and their guardian peacekeeper Weckl (deliciously played by the vampish Rachel Stock) to come to earth and continue their rivalry. This is done through what I can only describe as battle drumming, a sort of dance off using percussion.\r\n\r\n \r\n\r\nThrough all of this we are treated to the impish mischief of Gene (played by Amy Kelly), the macho posturing of Blades & Vinnie (James Hulme & James Godfrey) and an age old story of two lovers from the opposite sides. Playing out like a futuristic West Side Story, Buddy (a very dishy Simon Morgan-Thomas, according to my daughter) and Eve (a very cute Stephanie Clarke) try to unite the two sides but as with all torn-lovers tales, it is far from easy.\r\n\r\n \r\n\r\nAs the story works towards its conclusion the beats become more frantic, the surprises get bigger and the choreography even more impressive (there’s a great scene set in almost complete darkness – honest, believe me!). I won’t spoil things by telling you the rest of the show, ‘cept to say that you should really seek out this production, take the family and go lose yourself in the rhythm.\r\n\r\n \r\n\r\nAt the end, once the final curtain came down, there was a quiet sense of awe in the audience, almost like a collective reasoning, like we had shared a moment. We probably had as no-one truly knew what to expect, yet everyone agreed it was awesome.\r\n\r\n \r\n\r\nThere have been some iconic shows which define or even create their own genres; Riverdance, Cirque de Soliel, The Mousetrap, We Will Rock You – I believe that we have seen another tonight which could do the same – it truly is that special that I urge anyone to treat themselves and go and see it this weekend.','What\'s On Northeast','\"It had me hooked from the first beat to the very last.\"','inherit','closed','open','','168-revision-20','','','2012-01-23 20:52:42','2012-01-23 20:52:42','',168,'http://www.ethanlewismaltby.com/Home/168-revision-20/',0,'revision','',0),(173,1,'2012-01-23 16:45:16','2012-01-23 16:45:16','','Review 2','','inherit','closed','open','','172-revision','','','2012-01-23 16:45:16','2012-01-23 16:45:16','',172,'http://www.ethanlewismaltby.com/Home/172-revision/',0,'revision','',0),(437,1,'2012-02-24 17:31:35','2012-02-24 17:31:35','
\r\n
\r\n
','Media','','inherit','closed','open','','7-revision-7','','','2012-02-24 17:31:35','2012-02-24 17:31:35','',7,'http://www.ethanlewismaltby.com/Home/7-revision-7/',0,'revision','',0),(182,1,'2012-01-23 16:58:01','2012-01-23 16:58:01','WHAT A Show, Drumchasers has certainly promised a great evenings entertainment in Torquay – This is something that you’ve NEVER Seen before, it is a Musical, without words – but a Hell of a lot of drums!!\r\n\r\nFeaturing the Voice of Stephen Fry, this show has everything, Music, Action, Comedy, Fun, Energy! It was immense. I was so glad to be able to see this show in Torquay, it was a shame to see that the 1,500 seater venue was only a third full, which was a real shame, as the amount of energy that each cast member put into this show – was totally amazing.\r\n\r\nThe music was just great listening, and certainly put a smile on your face watching, my mother in fact took a short video of the show, and I hope that we’re not breaching any copyright laws, but I feel that other people should see HOW amazing this show actually is.\r\n\r\nThe show features all percussions from a Triangle to a Drum, and an amazing 10 minute piece to a Xylophone. A Cast of 11 play with their hearts content, this amazing choreographed production though a Romeo and Juliet story set in ‘Noiseland’ world, which expands into the Human world of an old Theatre where the caretaker ‘Mr Bennett’ played by Jack Warner looks after the instruments which are stored there, he’s the one that solves the way which brings back the peace to everyone at Noiseland.\r\n\r\nDrumchasers is an entertaining piece of work, and the skill which is used throughout the show, not just playing the instruments by dancing with them, and making the show come alive is amazing. The Sound was superb, and the Lighting – Wow, It was FANTASTIC! The lighting designer for this show must be very proud, and I Can imagine very fun to design.\r\n\r\nThis is a NEW Show, and I understand why there maybe wasn’t so many people – But, if this show comes near you, it’s 100% worth a watch! Buy Tickets!!\r\n\r\nPLEASE Come back to Torquay Drumchasers!','Talk Torbay','On DrumChasers...\"The music was just great listening...It was immense...\"','publish','closed','closed','','review-5','','','2015-06-18 20:15:21','2015-06-18 20:15:21','',0,'http://www.ethanlewismaltby.com/Home/?p=182',0,'post','',0),(445,1,'2012-01-23 20:16:54','2012-01-23 20:16:54','By Angie Johnson\r\n\r\n \r\n\r\nDrumchasers is a fusion of everything that’s great about live performance. It has terrific music and dancing, an intriguing set and one of the best lighting designs I’ve ever seen in the theatre. Above all it has a unique idea that fascinates while it entertains. Featuring every percussion instrument you can think of, and more, this is one fabulous evening out.\r\n\r\n \r\n\r\nThe story that frames all this expertise revolves around Mr Bennett (an assured performance by Jack Warner offering plenty of comic relief), an elderly Concert Hall caretaker looking after the instrument store, which one night is magically subsumed into the percussive otherworld of the Drumchasers. Energy is the keynote of this show — powerful drumming and dance create an epic world where an eternal battle between two opposing forces is played out with a myriad of different percussion instruments. But as with all good epics, there is also a love story amid the conflict, which allows for the interweaving of sequences using more gentle sounds such as the marimba. It’s a cleverly wrought plot that enables great variation in the sound and dance sequences.\r\n\r\n \r\n\r\nSometimes it’s loud, stirring or martial, sometimes funny, softly romantic or sad, but it’s always well realised. Importantly, it’s a show that takes its themes seriously but never veers into the pretentious. This is helped by the whimsy-free narration provided by Stephen Fry. The cast of ten are all terrific in both the playing and dancing departments. Each of them have their own intriguing character and accomplished special sequences, and when they come together as an ensemble they are simply mind-blowing. The choreography by Georgina King works fantastically well with the overall vision of Ethan Lewis Maltby, the composer, creator and director.\r\n\r\n \r\n\r\nThere is also a bit of non-threatening audience participation (synchronised clapping!) which was great fun and made us all feel part of this truly spectacular event. If ever a show deserved a run in the West End it’s this one.','The Oxford Times','\"Sometimes it’s loud, stirring or martial, sometimes funny, softly romantic or sad...simply mind-blowing...\"','inherit','closed','open','','176-revision-5','','','2012-01-23 20:16:54','2012-01-23 20:16:54','',176,'http://www.ethanlewismaltby.com/Home/176-revision-5/',0,'revision','',0),(183,1,'2012-01-23 16:57:54','2012-01-23 16:57:54','','Review 5','','inherit','closed','open','','182-revision','','','2012-01-23 16:57:54','2012-01-23 16:57:54','',182,'http://www.ethanlewismaltby.com/Home/182-revision/',0,'revision','',0),(174,1,'2012-01-23 16:45:54','2012-01-23 16:45:54','By Vera Fletcher\r\n\r\nDrumChasers sells itself as an explosion of sound and light with a story of romance, rivalry and rhythm and it doesn\'t disappoint. Think Romeo and Juliet with drumsticks (and without the poison). The synopsis of the show tells the story of Mr Bennett, a caretaker in an old concert hall who looks after the instruments stored within its walls. However, one night, something happens, something loud and something otherworldly and he is transported to the land of the DrumChasers. I felt this premise got a bit lost within the first ten minutes, Mr Bennett being swiftly cast aside from view and frantic, captivating drumming prevailed. Just when I had almost written off the storyline as a feeble excuse for a night of intoxicating percussion, the soothing tones of Stephen Fry stepped in to narrate and educate the audience on The Noiseland Tale. Aside from the intermittent guidance of Mr Fry this story was told solely through the use of incredibly skilled drumming, expressive dance and imaginative lighting. Armed with drumsticks as weapons, the fight scenes made convincing battles with emotional integrity. The underlying love story was a particular highlight which needed no explanation, proving some of the best stories are wordless.\r\n\r\nThe performance was polished and professional and the story gained in momentum and strength as the show progressed. Mr Bennett too, being given a bit more stage time to ingrain himself in the performance. The drumming was electric and the energy was infectious, at times it took great pains not to jump up and join in from the aisles. Thankfully towards the shows end there was opportunity to participate rhythmically from the safety of your seat which culminated in a loud surge of release from the audience of previously bottled toe tapping and hand clapping.\r\n\r\nAlong the same vein, if you liked Stomp you\'ll love DrumChasers, an uplifting, enjoyable night out even for those with no rhythm.','RemoteGoat','On DrumChasers... \"A night of intoxicating percussion...the energy was infectious, at times it took great pains not to jump up and join in from the aisles.\"','publish','closed','closed','','review-3','','','2015-06-18 20:15:21','2015-06-18 20:15:21','',0,'http://www.ethanlewismaltby.com/Home/?p=174',0,'post','',0),(175,1,'2012-01-23 16:45:37','2012-01-23 16:45:37','','Review 3','','inherit','closed','open','','174-revision','','','2012-01-23 16:45:37','2012-01-23 16:45:37','',174,'http://www.ethanlewismaltby.com/Home/174-revision/',0,'revision','',0),(176,1,'2012-02-25 13:38:58','2012-02-25 13:38:58','By Angie Johnson\r\n\r\nDrumchasers is a fusion of everything that’s great about live performance. It has terrific music and dancing, an intriguing set and one of the best lighting designs I’ve ever seen in the theatre. Above all it has a unique idea that fascinates while it entertains. Featuring every percussion instrument you can think of, and more, this is one fabulous evening out.\r\n\r\nThe story that frames all this expertise revolves around Mr Bennett (an assured performance by Jack Warner offering plenty of comic relief), an elderly Concert Hall caretaker looking after the instrument store, which one night is magically subsumed into the percussive otherworld of the Drumchasers. Energy is the keynote of this show — powerful drumming and dance create an epic world where an eternal battle between two opposing forces is played out with a myriad of different percussion instruments. But as with all good epics, there is also a love story amid the conflict, which allows for the interweaving of sequences using more gentle sounds such as the marimba. It’s a cleverly wrought plot that enables great variation in the sound and dance sequences.\r\n\r\nSometimes it’s loud, stirring or martial, sometimes funny, softly romantic or sad, but it’s always well realised. Importantly, it’s a show that takes its themes seriously but never veers into the pretentious. This is helped by the whimsy-free narration provided by Stephen Fry. The cast of ten are all terrific in both the playing and dancing departments. Each of them have their own intriguing character and accomplished special sequences, and when they come together as an ensemble they are simply mind-blowing. The choreography by Georgina King works fantastically well with the overall vision of Ethan Lewis Maltby, the composer, creator and director.\r\n\r\nThere is also a bit of non-threatening audience participation (synchronised clapping!) which was great fun and made us all feel part of this truly spectacular event. If ever a show deserved a run in the West End it’s this one.','The Oxford Times','On DrumChasers... \"Sometimes it’s loud, stirring or martial, sometimes funny, softly romantic or sad...simply mind-blowing...\"','publish','closed','closed','','review-4','','','2015-06-18 20:15:20','2015-06-18 20:15:20','',0,'http://www.ethanlewismaltby.com/Home/?p=176',0,'post','',0),(177,1,'2012-01-23 16:46:52','2012-01-23 16:46:52','','Review 4','','inherit','closed','open','','176-revision','','','2012-01-23 16:46:52','2012-01-23 16:46:52','',176,'http://www.ethanlewismaltby.com/Home/176-revision/',0,'revision','',0),(180,1,'2012-01-23 16:45:29','2012-01-23 16:45:29','Lorem ipsum dolor sit amet, consectetur adipisicing elit, sed do eiusmod tempor incididunt ut labore et dolore magna aliqua. Ut enim ad minim veniam, quis nostrud exercitation ullamco laboris nisi ut aliquip ex ea commodo consequat. Duis aute irure dolor in reprehenderit in voluptate velit esse cillum dolore eu fugiat nulla pariatur. Excepteur sint occaecat cupidatat non proident, sunt in culpa qui officia deserunt mollit anim id est laborum. Lorem ipsum dolor sit amet, consectetur adipisicing elit, sed do eiusmod tempor incididunt ut labore et dolore magna aliqua. Ut enim ad minim veniam, quis nostrud exercitation ullamco laboris nisi ut aliquip ex ea commodo consequat. Duis aute irure dolor in reprehenderit in voluptate velit esse cillum dolore eu fugiat nulla pariatur. Excepteur sint occaecat cupidatat non proident, sunt in culpa qui officia deserunt mollit anim id est laborum.','Review 2','','inherit','closed','open','','172-revision-2','','','2012-01-23 16:45:29','2012-01-23 16:45:29','',172,'http://www.ethanlewismaltby.com/Home/172-revision-2/',0,'revision','',0),(179,1,'2012-01-23 16:47:18','2012-01-23 16:47:18','Lorem ipsum dolor sit amet, consectetur adipisicing elit, sed do eiusmod tempor incididunt ut labore et dolore magna aliqua. Ut enim ad minim veniam, quis nostrud exercitation ullamco laboris nisi ut aliquip ex ea commodo consequat. Duis aute irure dolor in reprehenderit in voluptate velit esse cillum dolore eu fugiat nulla pariatur. Excepteur sint occaecat cupidatat non proident, sunt in culpa qui officia deserunt mollit anim id est laborum.','Review 4','','inherit','closed','open','','176-revision-3','','','2012-01-23 16:47:18','2012-01-23 16:47:18','',176,'http://www.ethanlewismaltby.com/Home/176-revision-3/',0,'revision','',0),(178,1,'2012-01-23 16:46:58','2012-01-23 16:46:58','Lorem ipsum dolor sit amet, consectetur adipisicing elit, sed do eiusmod tempor incididunt ut labore et dolore magna aliqua. Ut enim ad minim veniam, quis nostrud exercitation ullamco laboris nisi ut aliquip ex ea commodo consequat. Duis aute irure dolor in reprehenderit in voluptate velit esse cillum dolore eu fugiat nulla pariatur. Excepteur sint occaecat cupidatat non proident, sunt in culpa qui officia deserunt mollit anim id est laborum. Lorem ipsum dolor sit amet, consectetur adipisicing elit, sed do eiusmod tempor incididunt ut labore et dolore magna aliqua. Ut enim ad minim veniam, quis nostrud exercitation ullamco laboris nisi ut aliquip ex ea commodo consequat. Duis aute irure dolor in reprehenderit in voluptate velit esse cillum dolore eu fugiat nulla pariatur. Excepteur sint occaecat cupidatat non proident, sunt in culpa qui officia deserunt mollit anim id est laborum.','Review 4','','inherit','closed','open','','176-revision-2','','','2012-01-23 16:46:58','2012-01-23 16:46:58','',176,'http://www.ethanlewismaltby.com/Home/176-revision-2/',0,'revision','',0),(184,1,'2012-01-25 13:35:30','2012-01-25 13:35:30','Review by Peter Lathan (2011)\r\n\r\nThe advertising for DrumChasers promises \"an evening quite unlike anything you’ve seen before.\" It is, we are told, \"a musical without words, but with drums.\"\r\n\r\nIt\'s a percussion show, from drum kit to triangle, from gong to xylophone. A cast of eleven (plus voice-over by Stephen Fry) play their carefully and tightly choreographed way through a variant on the Romeo and Juliet story set in a parallel world, Noiseland, which somehow bursts into our world in an old concert hall where caretaker Mr Bennett, played by Jack Warner, looks after the instruments stored there. He is to be the instrument (pun intended) which solves Noiseland\'s age-old problems and bringing back peace.\r\n\r\nAnd that\'s not a spoiler: it\'s in the advertising!\r\n\r\nThis could be the recipe for something cringingly self-indugent, and that feeling was exacerbated by the fact that, because I arrived early and was on my own for this show, I read the programme before it started. There, on the first inside page, was an introduction, written in verse which could have been penned by that master of the appalling rhyme, William McGonagall. My heart sank!\r\n\r\n(Those who don\'t know McGonagall really should look at McGonagall Online and marvel!)\r\n\r\nIf I say that, about a third of the way through the first act, these words are spoken by Stephen Fry, you will realise - as I did at that moment - that this is not a show that takes itself too seriously. Indeed, it is shot through with self-deprecating humour, subverting any expectation that we are going to get a tragedy - or even a melodrama. And it gets that balance between humour and the seriousness required to interest us in the story exactly right.\r\n\r\nWhat DrumChasers actually is is very entertaining, even for those who are not particularly interested in percussion. The skill, talent and commitment of the performers are amazing and the lighting - inevitably very rock concert influenced - impressive. The movement of the instruments on, off and around the stage (by the cast) is smooth and quick and the costumes and make-up were close to but not exactly of this world, nicely contrasted with Mr Bennett\'s brown coat and flat cap. I did wonder if the sticks which the Noise Wrangler uses to control her people were meant to remind us of Jedi light sabres. They certainly did me.\r\n\r\nBut it is the performances which will stick in the memory. There was a number (I can\'t think of any other word) in which two opposing faction members fought each other, circling back and forth round two xylophones placed centrestage and never missing a note or even for a second losing their confrontational body language and expressions. And a comic highlight was a duel between two triangle playing cast members.\r\n\r\nGreat fun!','Great British Theatre','On DrumChasers...\" very entertaining, even for those who are not particularly interested in percussion. The skill, talent and commitment of the performers are amazing and the lighting - inevitably very rock concert influenced - impressive. \"','publish','closed','closed','','review-6','','','2015-06-18 20:15:20','2015-06-18 20:15:20','',0,'http://www.ethanlewismaltby.com/Home/?p=184',0,'post','',0),(186,1,'2012-01-23 16:59:10','2012-01-23 16:59:10','It is not very often that one gets to see a world premiere, especially a world premiere in Blackpool, so we were delighted to be able to go and see the first ever performance of the new percussion based musical DrumChasers at the Blackpool Grand Theatre. Having not seen the previous “Noise Ensemble” we really did not know what to expect and went along with completely open minds. Think Ultravox (John Foxx version) do Coppelia, Doctor Who does West Side story and the Terminator meets Les Mis and you’re part way there.\r\n\r\nOddly enough, the caretaker - Mr Bennett - who starts off looking like a bedraggled Blakey out of “On The Buses” -ends up the hero in this tale of factions of warring musicians from another world, which is delightfully narrated by an absently bodied Stephen Fry. Apart from Fry’s outlining of the story, there are no words at all – no dialogue, no singing, more akin to a ballet in fact, relying purely on expressive dance routines and plenty of percussion as the story is told through a succession of musical numbers of varying dramatic gravitas. But this is not just two hours of mindless heavy drumming by any means. In a well balanced score that could easily grace a Hollywood sci fi blockbuster, we have a drummers duel, a piece played solely on the triangle and a romantic glockenspiel moment . There are several enchanting xylophone melodies – bringing to mind dreamy images of tropical rain forests or trickling streams or wherever your own thoughts might take you, carried off by the music.\r\n\r\nAwesome! Spellbinding! Magical! DrumChasers puts you in touch with the primitive being inside you, and in two of the numbers the audience were invited to join in. We loved every minute – from start to finish a fantastic fairytale. Marvellous choreography – the grim set and the war scenes were reminiscent of Les Miserables. Superb performances from talented and versatile musicians/dancers. If only we could somehow learn to harness the energy generated by the dynamic performers on the set of DrumChasers we could indeed save the world from nuclear meltdown. This is not mainstream theatre by any means but all the same absolutely unmissable. Please go and see it.','Best Kept Secrets','On DrumChasers...\"Awesome! Spellbinding! Magical!...There are several enchanting xylophone melodies – bringing to mind dreamy images of tropical rain forests or trickling streams or wherever your own thoughts might take you, carried off by the music.\"','publish','closed','closed','','review-7','','','2015-06-18 20:15:20','2015-06-18 20:15:20','',0,'http://www.ethanlewismaltby.com/Home/?p=186',0,'post','',0),(187,1,'2012-01-23 16:59:01','2012-01-23 16:59:01','','Review 7','','inherit','closed','open','','186-revision','','','2012-01-23 16:59:01','2012-01-23 16:59:01','',186,'http://www.ethanlewismaltby.com/Home/186-revision/',0,'revision','',0),(185,1,'2012-01-23 16:58:17','2012-01-23 16:58:17','Lorem ipsum dolor sit amet, consectetur adipisicing elit, sed do eiusmod tempor incididunt ut labore et dolore magna aliqua. Ut enim ad minim veniam, quis nostrud exercitation ullamco laboris nisi ut aliquip ex ea commodo consequat. Duis aute irure dolor in reprehenderit in voluptate velit esse cillum dolore eu fugiat nulla pariatur. Excepteur sint occaecat cupidatat non proident, sunt in culpa qui officia deserunt mollit anim id est laborum.','Review 6','','inherit','closed','open','','184-revision','','','2012-01-23 16:58:17','2012-01-23 16:58:17','',184,'http://www.ethanlewismaltby.com/Home/184-revision/',0,'revision','',0),(188,1,'2012-02-25 13:39:36','2012-02-25 13:39:36','The Stage - Review of Courtenay.\r\n\r\nTouring two prominent south east theatres and focusing on Kent\'s heritage creates a sense of identity for local audiences. However, its appeal would undoubtedly attract a wider audience should Bright Start Productions, in association with the Stag Theatre, Sevenoaks, choose to lengthen their tour. The plot reveals the impulsive Sir William Courtenay, revolutionary and suspected madman. With the energetic strains of Les Miserables, the large cast is headed by Loren Geeting in the title role. It is no surprise Geeting has won awards for his voice as he commands centre stage in both voice and stature. With a Macheath-like charm, Courtenay seduces local protester Sarah Culver (Renée Salewski) though the relationship does not lessen the action. Salewski appears childlike yet her voice reveals a maturity and control demanded of a lead role. Supporting character Katherine Tom (Antonia Bond), Courtenay\'s forgotten wife, appears fleetingly yet captures the sense of the wronged party. Sarah\'s sweetheart Nicholas Mears, played by David Wyatt, is well cast as tragically young and impulsive. Although the scenes seemed more like montages, Christopher Neame\'s script is a good balance of action and romance. George Roman directs and Ethan Lewis Maltby\'s score is beautifully written. This musical sees some spectacular conflict scenes thanks to Paul Romang\'s fight arrangement and the East Kent Living History and Re-Enactment Unit, in full uniform and firing as though their lives really did depend upon it.','The Stage','On Courtenay... \"Christopher Neame\'s script is a good balance of action and romance. George Roman directs and Ethan Lewis Maltby\'s score is beautifully written. This musical sees some spectacular conflict scenes thanks to Paul Romang\'s fight arrangement...\"','publish','closed','closed','','review-8','','','2015-06-18 20:15:20','2015-06-18 20:15:20','',0,'http://www.ethanlewismaltby.com/Home/?p=188',0,'post','',0),(189,1,'2012-01-23 16:59:29','2012-01-23 16:59:29','','Review 8','','inherit','closed','open','','188-revision','','','2012-01-23 16:59:29','2012-01-23 16:59:29','',188,'http://www.ethanlewismaltby.com/Home/188-revision/',0,'revision','',0),(190,1,'2012-01-23 16:59:36','2012-01-23 16:59:36','Lorem ipsum dolor sit amet, consectetur adipisicing elit, sed do eiusmod tempor incididunt ut labore et dolore magna aliqua. Ut enim ad minim veniam, quis nostrud exercitation ullamco laboris nisi ut aliquip ex ea commodo consequat.','Review 8','','inherit','closed','open','','188-revision-2','','','2012-01-23 16:59:36','2012-01-23 16:59:36','',188,'http://www.ethanlewismaltby.com/Home/188-revision-2/',0,'revision','',0),(192,1,'2012-01-23 17:00:41','2012-01-23 17:00:41','Lorem ipsum dolor sit amet, consectetur adipisicing elit, sed do eiusmod tempor incididunt ut labore et dolore magna aliqua. Ut enim ad minim veniam, quis nostrud exercitation ullamco laboris nisi ut aliquip ex ea commodo consequat.','Review 8','','inherit','closed','open','','188-revision-4','','','2012-01-23 17:00:41','2012-01-23 17:00:41','',188,'http://www.ethanlewismaltby.com/Home/188-revision-4/',0,'revision','',0),(191,1,'2012-01-23 16:59:54','2012-01-23 16:59:54','Lorem ipsum dolor sit amet, consectetur adipisicing elit, sed do eiusmod tempor incididunt ut labore et dolore magna aliqua. Ut enim ad minim veniam, quis nostrud exercitation ullamco laboris nisi ut aliquip ex ea commodo consequat.Lorem ipsum dolor sit amet, consectetur adipisicing elit, sed do eiusmod tempor incididunt ut labore et dolore magna aliqua. Ut enim ad minim veniam, quis nostrud exercitation ullamco laboris nisi ut aliquip ex ea commodo consequat. Duis aute irure dolor in reprehenderit in voluptate velit esse cillum dolore eu fugiat nulla pariatur. Excepteur sint occaecat cupidatat non proident, sunt in culpa qui officia deserunt mollit anim id est laborum.','Review 8','','inherit','closed','open','','188-revision-3','','','2012-01-23 16:59:54','2012-01-23 16:59:54','',188,'http://www.ethanlewismaltby.com/Home/188-revision-3/',0,'revision','',0),(193,1,'2012-01-23 16:45:54','2012-01-23 16:45:54','Lorem ipsum dolor sit amet, consectetur adipisicing elit, sed do eiusmod tempor incididunt ut labore et dolore magna aliqua. Ut enim ad minim veniam, quis nostrud exercitation ullamco laboris nisi ut aliquip ex ea commodo consequat. Duis aute irure dolor in reprehenderit in voluptate velit esse cillum dolore eu fugiat nulla pariatur. Excepteur sint occaecat cupidatat non proident, sunt in culpa qui officia deserunt mollit anim id est laborum. Lorem ipsum dolor sit amet, consectetur adipisicing elit, sed do eiusmod tempor incididunt ut labore et dolore magna aliqua. Ut enim ad minim veniam, quis nostrud exercitation ullamco laboris nisi ut aliquip ex ea commodo consequat. Duis aute irure dolor in reprehenderit in voluptate velit esse cillum dolore eu fugiat nulla pariatur. Excepteur sint occaecat cupidatat non proident, sunt in culpa qui officia deserunt mollit anim id est laborum.','Review 3','','inherit','closed','open','','174-revision-2','','','2012-01-23 16:45:54','2012-01-23 16:45:54','',174,'http://www.ethanlewismaltby.com/Home/174-revision-2/',0,'revision','',0),(214,1,'2012-01-23 20:15:45','2012-01-23 20:15:45','By Angie Johnson\n\n \n\nDrumchasers is a fusion of everything that’s great about live performance. It has terrific music and dancing, an intriguing set and one of the best lighting designs I’ve ever seen in the theatre. Above all it has a unique idea that fascinates while it entertains. Featuring every percussion instrument you can think of, and more, this is one fabulous evening out.\n\n \n\nThe story that frames all this expertise revolves around Mr Bennett (an assured performance by Jack Warner offering plenty of comic relief), an elderly Concert Hall caretaker looking after the instrument store, which one night is magically subsumed into the percussive otherworld of the Drumchasers. Energy is the keynote of this show — powerful drumming and dance create an epic world where an eternal battle between two opposing forces is played out with a myriad of different percussion instruments. But as with all good epics, there is also a love story amid the conflict, which allows for the interweaving of sequences using more gentle sounds such as the marimba. It’s a cleverly wrought plot that enables great variation in the sound and dance sequences.\n\n \n\nSometimes it’s loud, stirring or martial, sometimes funny, softly romantic or sad, but it’s always well realised. Importantly, it’s a show that takes its themes seriously but never veers into the pretentious. This is helped by the whimsy-free narration provided by Stephen Fry. The cast of ten are all terrific in both the playing and dancing departments. Each of them have their own intriguing character and accomplished special sequences, and when they come together as an ensemble they are simply mind-blowing. The choreography by Georgina King works fantastically well with the overall vision of Ethan Lewis Maltby, the composer, creator and director.\n\n \n\nThere is also a bit of non-threatening audience participation (synchronised clapping!) which was great fun and made us all feel part of this truly spectacular event. If ever a show deserved a run in the West End it’s this one.','The Oxford Times','','inherit','closed','open','','176-autosave','','','2012-01-23 20:15:45','2012-01-23 20:15:45','',176,'http://www.ethanlewismaltby.com/Home/176-autosave/',0,'revision','',0),(194,1,'2012-01-23 20:03:48','2012-01-23 20:03:48','DrumChasers at the Civic – A New Masterpiece\n\n \n\nBy Andy Bramfitt\n\n \n\nYou know, with all the social media, tweeting, facebook etc I honestly thought that the days of finding a new show for which I had no ideas, expectations or pre-conceptions was sadly over. (To tell you a secret, all my life I have wished I had been in the audience for the first showing of the Rocky Horror Show, way back before the midnight costume parties and the huge cult following but alas no, I was destined just to be a follower.)\n\n \n\nWell after tonight I honestly believe that in years to come I can stand proud and say “Yes, I saw it before they took the West End by storm”.\n\n \n\nEthan Lewis Maltby’s DrumChasers is unlike any other show I have ever seen; a mesmerising blend of unbelievable drumming coupled with beautiful dancing all set to a futuristic tale of power, rivalry and love. Actually, to say its all drumming is doing a grave dis-service to the whole percussion experience including some truly beautiful glokenspiel melodies. This is story-telling-without-words at its best and it had me hooked from the first beat to the very last.\n\n \n\nGeorgina King’s choreography is wonderfully synchronised, evocotive and yet simple, but it’s not until you really watch the stage that you realise that it’s no mean feat to match expressive dance with demanding drumming & exacting rhythms.\n\n \n\nMake no mistake, this is not a show of 10 drummers simply stood on stage; each character has their own story, their own personality which they bring to the fore through genuine acting (there is no dialogue at all which makes the story telling even more engaging) and very quickly you understand the premise of the show, even before Stephen Fry’s narration of the Noiseland Tale (written by Jenna Donnelly) comes in about half way through act 1.\n\n \n\nThe story, without wanting to give too much away, is about a race of people, the Drumchasers from Noiseland, who, through the loss of a worshipped relic become fractured and warring. This relic finds it’s way to earth and is discovered by Mr Bennet, a stage caretaker (played wonderfully by somebody’s grandad – actually its none other than Mr Jack Warner). His unwitting discovery prompts the Drumchasers and their guardian peacekeeper Weckl (deliciously played by the vampish Rachel Stock) to come to earth and continue their rivalry. This is done through what I can only describe as battle drumming, a sort of dance off using percussion.\n\n \n\nThrough all of this we are treated to the impish mischief of Gene (played by Amy Kelly), the macho posturing of Blades & Vinnie (James Hulme & James Godfrey) and an age old story of two lovers from the opposite sides. Playing out like a futuristic West Side Story, Buddy (a very dishy Simon Morgan-Thomas, according to my daughter) and Eve (a very cute Stephanie Clarke) try to unite the two sides but as with all torn-lovers tales, it is far from easy.\n\n \n\nAs the story works towards its conclusion the beats become more frantic, the surprises get bigger and the choreography even more impressive (there’s a great scene set in almost complete darkness – honest, believe me!). I won’t spoil things by telling you the rest of the show, ‘cept to say that you should really seek out this production, take the family and go lose yourself in the rhythm.\n\n \n\nAt the end, once the final curtain came down, there was a quiet sense of awe in the audience, almost like a collective reasoning, like we had shared a moment. We probably had as no-one truly knew what to expect, yet everyone agreed it was awesome.\n\n \n\nThere have been some iconic shows which define or even create their own genres; Riverdance, Cirque de Soliel, The Mousetrap, We Will Rock You – I believe that we have seen another tonight which could do the same – it truly is that special that I urge anyone to treat themselves and go and see it this weekend.','What\'s On Northeast','\"Ethan Lewis Maltby’s DrumChasers is unlike any other show I have ever seen; a mesmerising blend of unbelievable drumming coupled with beautiful dancing all set to a futuristic tale of power, rivalry and love.\"','inherit','closed','open','','168-autosave','','','2012-01-23 20:03:48','2012-01-23 20:03:48','',168,'http://www.ethanlewismaltby.com/Home/168-autosave/',0,'revision','',0),(195,1,'2012-01-23 16:40:25','2012-01-23 16:40:25','Lorem ipsum dolor sit amet, consectetur adipisicing elit, sed do eiusmod tempor incididunt ut labore et dolore magna aliqua. Ut enim ad minim veniam, quis nostrud exercitation ullamco laboris nisi ut aliquip ex ea commodo consequat. Duis aute irure dolor in reprehenderit in voluptate velit esse cillum dolore eu fugiat nulla pariatur. Excepteur sint occaecat cupidatat non proident, sunt in culpa qui officia deserunt mollit anim id est laborum.\r\nLorem ipsum dolor sit amet, consectetur adipisicing elit, sed do eiusmod tempor incididunt ut labore et dolore magna aliqua. Ut enim ad minim veniam, quis nostrud exercitation ullamco laboris nisi ut aliquip ex ea commodo consequat. Duis aute irure dolor in reprehenderit in voluptate velit esse cillum dolore eu fugiat nulla pariatur. Excepteur sint occaecat cupidatat non proident, sunt in culpa qui officia deserunt mollit anim id est laborum.','Review 1','','inherit','closed','open','','168-revision-4','','','2012-01-23 16:40:25','2012-01-23 16:40:25','',168,'http://www.ethanlewismaltby.com/Home/168-revision-4/',0,'revision','',0),(196,1,'2012-01-23 18:58:21','2012-01-23 18:58:21','\"Ethan Lewis Maltby’s DrumChasers is unlike any other show I have ever seen; a mesmerising blend of unbelievable drumming coupled with beautiful dancing all set to a futuristic tale of power, rivalry and love.\"\r\n\r\nDrumChasers at the Civic – A New Masterpiece\r\n\r\nBy Andy Bramfitt\r\n\r\nYou know, with all the social media, tweeting, facebook etc I honestly thought that the days of finding a new show for which I had no ideas, expectations or pre-conceptions was sadly over. (To tell you a secret, all my life I have wished I had been in the audience for the first showing of the Rocky Horror Show, way back before the midnight costume parties and the huge cult following but alas no, I was destined just to be a follower.)\r\n\r\nWell after tonight I honestly believe that in years to come I can stand proud and say “Yes, I saw it before they took the West End by storm”.\r\n\r\nEthan Lewis Maltby’s DrumChasers is unlike any other show I have ever seen; a mesmerising blend of unbelievable drumming coupled with beautiful dancing all set to a futuristic tale of power, rivalry and love. Actually, to say its all drumming is doing a grave dis-service to the whole percussion experience including some truly beautiful glokenspiel melodies. This is story-telling-without-words at its best and it had me hooked from the first beat to the very last.\r\n\r\nGeorgina King’s choreography is wonderfully synchronised, evocotive and yet simple, but it’s not until you really watch the stage that you realise that it’s no mean feat to match expressive dance with demanding drumming & exacting rhythms.\r\n\r\nMake no mistake, this is not a show of 10 drummers simply stood on stage; each character has their own story, their own personality which they bring to the fore through genuine acting (there is no dialogue at all which makes the story telling even more engaging) and very quickly you understand the premise of the show, even before Stephen Fry’s narration of the Noiseland Tale (written by Jenna Donnelly) comes in about half way through act 1.\r\n\r\nThe story, without wanting to give too much away, is about a race of people, the Drumchasers from Noiseland, who, through the loss of a worshipped relic become fractured and warring. This relic finds it’s way to earth and is discovered by Mr Bennet, a stage caretaker (played wonderfully by somebody’s grandad – actually its none other than Mr Jack Warner). His unwitting discovery prompts the Drumchasers and their guardian peacekeeper Weckl (deliciously played by the vampish Rachel Stock) to come to earth and continue their rivalry. This is done through what I can only describe as battle drumming, a sort of dance off using percussion.\r\n\r\nThrough all of this we are treated to the impish mischief of Gene (played by Amy Kelly), the macho posturing of Blades & Vinnie (James Hulme & James Godfrey) and an age old story of two lovers from the opposite sides. Playing out like a futuristic West Side Story, Buddy (a very dishy Simon Morgan-Thomas, according to my daughter) and Eve (a very cute Stephanie Clarke) try to unite the two sides but as with all torn-lovers tales, it is far from easy.\r\n\r\nAs the story works towards its conclusion the beats become more frantic, the surprises get bigger and the choreography even more impressive (there’s a great scene set in almost complete darkness – honest, believe me!). I won’t spoil things by telling you the rest of the show, ‘cept to say that you should really seek out this production, take the family and go lose yourself in the rhythm.\r\n\r\nAt the end, once the final curtain came down, there was a quiet sense of awe in the audience, almost like a collective reasoning, like we had shared a moment. We probably had as no-one truly knew what to expect, yet everyone agreed it was awesome.\r\n\r\nThere have been some iconic shows which define or even create their own genres; Riverdance, Cirque de Soliel, The Mousetrap, We Will Rock You – I believe that we have seen another tonight which could do the same – it truly is that special that I urge anyone to treat themselves and go and see it this weekend.\r\n','What\'s On Northeast','','inherit','closed','open','','168-revision-5','','','2012-01-23 18:58:21','2012-01-23 18:58:21','',168,'http://www.ethanlewismaltby.com/Home/168-revision-5/',0,'revision','',0),(197,1,'2012-01-23 19:11:53','2012-01-23 19:11:53','

\"Ethan Lewis Maltby’s DrumChasers is unlike any other show I have ever seen; a mesmerising blend of unbelievable drumming coupled with beautiful dancing all set to a futuristic tale of power, rivalry and love.\"

\r\n\r\nDrumChasers at the Civic – A New Masterpiece\r\n\r\nBy Andy Bramfitt\r\n\r\nYou know, with all the social media, tweeting, facebook etc I honestly thought that the days of finding a new show for which I had no ideas, expectations or pre-conceptions was sadly over. (To tell you a secret, all my life I have wished I had been in the audience for the first showing of the Rocky Horror Show, way back before the midnight costume parties and the huge cult following but alas no, I was destined just to be a follower.)\r\n\r\nWell after tonight I honestly believe that in years to come I can stand proud and say “Yes, I saw it before they took the West End by storm”.\r\n\r\nEthan Lewis Maltby’s DrumChasers is unlike any other show I have ever seen; a mesmerising blend of unbelievable drumming coupled with beautiful dancing all set to a futuristic tale of power, rivalry and love. Actually, to say its all drumming is doing a grave dis-service to the whole percussion experience including some truly beautiful glokenspiel melodies. This is story-telling-without-words at its best and it had me hooked from the first beat to the very last.\r\n\r\nGeorgina King’s choreography is wonderfully synchronised, evocotive and yet simple, but it’s not until you really watch the stage that you realise that it’s no mean feat to match expressive dance with demanding drumming & exacting rhythms.\r\n\r\nMake no mistake, this is not a show of 10 drummers simply stood on stage; each character has their own story, their own personality which they bring to the fore through genuine acting (there is no dialogue at all which makes the story telling even more engaging) and very quickly you understand the premise of the show, even before Stephen Fry’s narration of the Noiseland Tale (written by Jenna Donnelly) comes in about half way through act 1.\r\n\r\nThe story, without wanting to give too much away, is about a race of people, the Drumchasers from Noiseland, who, through the loss of a worshipped relic become fractured and warring. This relic finds it’s way to earth and is discovered by Mr Bennet, a stage caretaker (played wonderfully by somebody’s grandad – actually its none other than Mr Jack Warner). His unwitting discovery prompts the Drumchasers and their guardian peacekeeper Weckl (deliciously played by the vampish Rachel Stock) to come to earth and continue their rivalry. This is done through what I can only describe as battle drumming, a sort of dance off using percussion.\r\n\r\nThrough all of this we are treated to the impish mischief of Gene (played by Amy Kelly), the macho posturing of Blades & Vinnie (James Hulme & James Godfrey) and an age old story of two lovers from the opposite sides. Playing out like a futuristic West Side Story, Buddy (a very dishy Simon Morgan-Thomas, according to my daughter) and Eve (a very cute Stephanie Clarke) try to unite the two sides but as with all torn-lovers tales, it is far from easy.\r\n\r\nAs the story works towards its conclusion the beats become more frantic, the surprises get bigger and the choreography even more impressive (there’s a great scene set in almost complete darkness – honest, believe me!). I won’t spoil things by telling you the rest of the show, ‘cept to say that you should really seek out this production, take the family and go lose yourself in the rhythm.\r\n\r\nAt the end, once the final curtain came down, there was a quiet sense of awe in the audience, almost like a collective reasoning, like we had shared a moment. We probably had as no-one truly knew what to expect, yet everyone agreed it was awesome.\r\n\r\nThere have been some iconic shows which define or even create their own genres; Riverdance, Cirque de Soliel, The Mousetrap, We Will Rock You – I believe that we have seen another tonight which could do the same – it truly is that special that I urge anyone to treat themselves and go and see it this weekend.\r\n','What\'s On Northeast','','inherit','closed','open','','168-revision-6','','','2012-01-23 19:11:53','2012-01-23 19:11:53','',168,'http://www.ethanlewismaltby.com/Home/168-revision-6/',0,'revision','',0),(198,1,'2012-01-23 19:12:05','2012-01-23 19:12:05','

\"Ethan Lewis Maltby’s DrumChasers is unlike any other show I have ever seen; a mesmerising blend of unbelievable drumming coupled with beautiful dancing all set to a futuristic tale of power, rivalry and love.\"

\r\n\r\nDrumChasers at the Civic – A New Masterpiece\r\n\r\nBy Andy Bramfitt\r\n\r\nYou know, with all the social media, tweeting, facebook etc I honestly thought that the days of finding a new show for which I had no ideas, expectations or pre-conceptions was sadly over. (To tell you a secret, all my life I have wished I had been in the audience for the first showing of the Rocky Horror Show, way back before the midnight costume parties and the huge cult following but alas no, I was destined just to be a follower.)\r\n\r\nWell after tonight I honestly believe that in years to come I can stand proud and say “Yes, I saw it before they took the West End by storm”.\r\n\r\nEthan Lewis Maltby’s DrumChasers is unlike any other show I have ever seen; a mesmerising blend of unbelievable drumming coupled with beautiful dancing all set to a futuristic tale of power, rivalry and love. Actually, to say its all drumming is doing a grave dis-service to the whole percussion experience including some truly beautiful glokenspiel melodies. This is story-telling-without-words at its best and it had me hooked from the first beat to the very last.\r\n\r\nGeorgina King’s choreography is wonderfully synchronised, evocotive and yet simple, but it’s not until you really watch the stage that you realise that it’s no mean feat to match expressive dance with demanding drumming & exacting rhythms.\r\n\r\nMake no mistake, this is not a show of 10 drummers simply stood on stage; each character has their own story, their own personality which they bring to the fore through genuine acting (there is no dialogue at all which makes the story telling even more engaging) and very quickly you understand the premise of the show, even before Stephen Fry’s narration of the Noiseland Tale (written by Jenna Donnelly) comes in about half way through act 1.\r\n\r\nThe story, without wanting to give too much away, is about a race of people, the Drumchasers from Noiseland, who, through the loss of a worshipped relic become fractured and warring. This relic finds it’s way to earth and is discovered by Mr Bennet, a stage caretaker (played wonderfully by somebody’s grandad – actually its none other than Mr Jack Warner). His unwitting discovery prompts the Drumchasers and their guardian peacekeeper Weckl (deliciously played by the vampish Rachel Stock) to come to earth and continue their rivalry. This is done through what I can only describe as battle drumming, a sort of dance off using percussion.\r\n\r\nThrough all of this we are treated to the impish mischief of Gene (played by Amy Kelly), the macho posturing of Blades & Vinnie (James Hulme & James Godfrey) and an age old story of two lovers from the opposite sides. Playing out like a futuristic West Side Story, Buddy (a very dishy Simon Morgan-Thomas, according to my daughter) and Eve (a very cute Stephanie Clarke) try to unite the two sides but as with all torn-lovers tales, it is far from easy.\r\n\r\nAs the story works towards its conclusion the beats become more frantic, the surprises get bigger and the choreography even more impressive (there’s a great scene set in almost complete darkness – honest, believe me!). I won’t spoil things by telling you the rest of the show, ‘cept to say that you should really seek out this production, take the family and go lose yourself in the rhythm.\r\n\r\nAt the end, once the final curtain came down, there was a quiet sense of awe in the audience, almost like a collective reasoning, like we had shared a moment. We probably had as no-one truly knew what to expect, yet everyone agreed it was awesome.\r\n\r\nThere have been some iconic shows which define or even create their own genres; Riverdance, Cirque de Soliel, The Mousetrap, We Will Rock You – I believe that we have seen another tonight which could do the same – it truly is that special that I urge anyone to treat themselves and go and see it this weekend.\r\n','What\'s On Northeast','','inherit','closed','open','','168-revision-7','','','2012-01-23 19:12:05','2012-01-23 19:12:05','',168,'http://www.ethanlewismaltby.com/Home/168-revision-7/',0,'revision','',0),(200,1,'2012-01-23 19:13:47','2012-01-23 19:13:47','\"Ethan Lewis Maltby’s DrumChasers is unlike any other show I have ever seen; a mesmerising blend of unbelievable drumming coupled with beautiful dancing all set to a futuristic tale of power, rivalry and love.\"\r\n\r\n[more]\r\n\r\nDrumChasers at the Civic – A New Masterpiece\r\n\r\nBy Andy Bramfitt\r\n\r\nYou know, with all the social media, tweeting, facebook etc I honestly thought that the days of finding a new show for which I had no ideas, expectations or pre-conceptions was sadly over. (To tell you a secret, all my life I have wished I had been in the audience for the first showing of the Rocky Horror Show, way back before the midnight costume parties and the huge cult following but alas no, I was destined just to be a follower.)\r\n\r\nWell after tonight I honestly believe that in years to come I can stand proud and say “Yes, I saw it before they took the West End by storm”.\r\n\r\nEthan Lewis Maltby’s DrumChasers is unlike any other show I have ever seen; a mesmerising blend of unbelievable drumming coupled with beautiful dancing all set to a futuristic tale of power, rivalry and love. Actually, to say its all drumming is doing a grave dis-service to the whole percussion experience including some truly beautiful glokenspiel melodies. This is story-telling-without-words at its best and it had me hooked from the first beat to the very last.\r\n\r\nGeorgina King’s choreography is wonderfully synchronised, evocotive and yet simple, but it’s not until you really watch the stage that you realise that it’s no mean feat to match expressive dance with demanding drumming & exacting rhythms.\r\n\r\nMake no mistake, this is not a show of 10 drummers simply stood on stage; each character has their own story, their own personality which they bring to the fore through genuine acting (there is no dialogue at all which makes the story telling even more engaging) and very quickly you understand the premise of the show, even before Stephen Fry’s narration of the Noiseland Tale (written by Jenna Donnelly) comes in about half way through act 1.\r\n\r\nThe story, without wanting to give too much away, is about a race of people, the Drumchasers from Noiseland, who, through the loss of a worshipped relic become fractured and warring. This relic finds it’s way to earth and is discovered by Mr Bennet, a stage caretaker (played wonderfully by somebody’s grandad – actually its none other than Mr Jack Warner). His unwitting discovery prompts the Drumchasers and their guardian peacekeeper Weckl (deliciously played by the vampish Rachel Stock) to come to earth and continue their rivalry. This is done through what I can only describe as battle drumming, a sort of dance off using percussion.\r\n\r\nThrough all of this we are treated to the impish mischief of Gene (played by Amy Kelly), the macho posturing of Blades & Vinnie (James Hulme & James Godfrey) and an age old story of two lovers from the opposite sides. Playing out like a futuristic West Side Story, Buddy (a very dishy Simon Morgan-Thomas, according to my daughter) and Eve (a very cute Stephanie Clarke) try to unite the two sides but as with all torn-lovers tales, it is far from easy.\r\n\r\nAs the story works towards its conclusion the beats become more frantic, the surprises get bigger and the choreography even more impressive (there’s a great scene set in almost complete darkness – honest, believe me!). I won’t spoil things by telling you the rest of the show, ‘cept to say that you should really seek out this production, take the family and go lose yourself in the rhythm.\r\n\r\nAt the end, once the final curtain came down, there was a quiet sense of awe in the audience, almost like a collective reasoning, like we had shared a moment. We probably had as no-one truly knew what to expect, yet everyone agreed it was awesome.\r\n\r\nThere have been some iconic shows which define or even create their own genres; Riverdance, Cirque de Soliel, The Mousetrap, We Will Rock You – I believe that we have seen another tonight which could do the same – it truly is that special that I urge anyone to treat themselves and go and see it this weekend.','What\'s On Northeast','','inherit','closed','open','','168-revision-9','','','2012-01-23 19:13:47','2012-01-23 19:13:47','',168,'http://www.ethanlewismaltby.com/Home/168-revision-9/',0,'revision','',0),(199,1,'2012-01-23 19:12:29','2012-01-23 19:12:29','\"Ethan Lewis Maltby’s DrumChasers is unlike any other show I have ever seen; a mesmerising blend of unbelievable drumming coupled with beautiful dancing all set to a futuristic tale of power, rivalry and love.\"\r\n\r\n<!–more–>\r\n\r\nDrumChasers at the Civic – A New Masterpiece\r\n\r\nBy Andy Bramfitt\r\n\r\nYou know, with all the social media, tweeting, facebook etc I honestly thought that the days of finding a new show for which I had no ideas, expectations or pre-conceptions was sadly over. (To tell you a secret, all my life I have wished I had been in the audience for the first showing of the Rocky Horror Show, way back before the midnight costume parties and the huge cult following but alas no, I was destined just to be a follower.)\r\n\r\nWell after tonight I honestly believe that in years to come I can stand proud and say “Yes, I saw it before they took the West End by storm”.\r\n\r\nEthan Lewis Maltby’s DrumChasers is unlike any other show I have ever seen; a mesmerising blend of unbelievable drumming coupled with beautiful dancing all set to a futuristic tale of power, rivalry and love. Actually, to say its all drumming is doing a grave dis-service to the whole percussion experience including some truly beautiful glokenspiel melodies. This is story-telling-without-words at its best and it had me hooked from the first beat to the very last.\r\n\r\nGeorgina King’s choreography is wonderfully synchronised, evocotive and yet simple, but it’s not until you really watch the stage that you realise that it’s no mean feat to match expressive dance with demanding drumming & exacting rhythms.\r\n\r\nMake no mistake, this is not a show of 10 drummers simply stood on stage; each character has their own story, their own personality which they bring to the fore through genuine acting (there is no dialogue at all which makes the story telling even more engaging) and very quickly you understand the premise of the show, even before Stephen Fry’s narration of the Noiseland Tale (written by Jenna Donnelly) comes in about half way through act 1.\r\n\r\nThe story, without wanting to give too much away, is about a race of people, the Drumchasers from Noiseland, who, through the loss of a worshipped relic become fractured and warring. This relic finds it’s way to earth and is discovered by Mr Bennet, a stage caretaker (played wonderfully by somebody’s grandad – actually its none other than Mr Jack Warner). His unwitting discovery prompts the Drumchasers and their guardian peacekeeper Weckl (deliciously played by the vampish Rachel Stock) to come to earth and continue their rivalry. This is done through what I can only describe as battle drumming, a sort of dance off using percussion.\r\n\r\nThrough all of this we are treated to the impish mischief of Gene (played by Amy Kelly), the macho posturing of Blades & Vinnie (James Hulme & James Godfrey) and an age old story of two lovers from the opposite sides. Playing out like a futuristic West Side Story, Buddy (a very dishy Simon Morgan-Thomas, according to my daughter) and Eve (a very cute Stephanie Clarke) try to unite the two sides but as with all torn-lovers tales, it is far from easy.\r\n\r\nAs the story works towards its conclusion the beats become more frantic, the surprises get bigger and the choreography even more impressive (there’s a great scene set in almost complete darkness – honest, believe me!). I won’t spoil things by telling you the rest of the show, ‘cept to say that you should really seek out this production, take the family and go lose yourself in the rhythm.\r\n\r\nAt the end, once the final curtain came down, there was a quiet sense of awe in the audience, almost like a collective reasoning, like we had shared a moment. We probably had as no-one truly knew what to expect, yet everyone agreed it was awesome.\r\n\r\nThere have been some iconic shows which define or even create their own genres; Riverdance, Cirque de Soliel, The Mousetrap, We Will Rock You – I believe that we have seen another tonight which could do the same – it truly is that special that I urge anyone to treat themselves and go and see it this weekend.','What\'s On Northeast','','inherit','closed','open','','168-revision-8','','','2012-01-23 19:12:29','2012-01-23 19:12:29','',168,'http://www.ethanlewismaltby.com/Home/168-revision-8/',0,'revision','',0),(201,1,'2012-01-23 19:18:30','2012-01-23 19:18:30','\"Ethan Lewis Maltby’s DrumChasers is unlike any other show I have ever seen; a mesmerising blend of unbelievable drumming coupled with beautiful dancing all set to a futuristic tale of power, rivalry and love.\"\r\n\r\n \r\n\r\nDrumChasers at the Civic – A New Masterpiece\r\n\r\nBy Andy Bramfitt\r\n\r\nYou know, with all the social media, tweeting, facebook etc I honestly thought that the days of finding a new show for which I had no ideas, expectations or pre-conceptions was sadly over. (To tell you a secret, all my life I have wished I had been in the audience for the first showing of the Rocky Horror Show, way back before the midnight costume parties and the huge cult following but alas no, I was destined just to be a follower.)\r\n\r\nWell after tonight I honestly believe that in years to come I can stand proud and say “Yes, I saw it before they took the West End by storm”.\r\n\r\nEthan Lewis Maltby’s DrumChasers is unlike any other show I have ever seen; a mesmerising blend of unbelievable drumming coupled with beautiful dancing all set to a futuristic tale of power, rivalry and love. Actually, to say its all drumming is doing a grave dis-service to the whole percussion experience including some truly beautiful glokenspiel melodies. This is story-telling-without-words at its best and it had me hooked from the first beat to the very last.\r\n\r\nGeorgina King’s choreography is wonderfully synchronised, evocotive and yet simple, but it’s not until you really watch the stage that you realise that it’s no mean feat to match expressive dance with demanding drumming & exacting rhythms.\r\n\r\nMake no mistake, this is not a show of 10 drummers simply stood on stage; each character has their own story, their own personality which they bring to the fore through genuine acting (there is no dialogue at all which makes the story telling even more engaging) and very quickly you understand the premise of the show, even before Stephen Fry’s narration of the Noiseland Tale (written by Jenna Donnelly) comes in about half way through act 1.\r\n\r\nThe story, without wanting to give too much away, is about a race of people, the Drumchasers from Noiseland, who, through the loss of a worshipped relic become fractured and warring. This relic finds it’s way to earth and is discovered by Mr Bennet, a stage caretaker (played wonderfully by somebody’s grandad – actually its none other than Mr Jack Warner). His unwitting discovery prompts the Drumchasers and their guardian peacekeeper Weckl (deliciously played by the vampish Rachel Stock) to come to earth and continue their rivalry. This is done through what I can only describe as battle drumming, a sort of dance off using percussion.\r\n\r\nThrough all of this we are treated to the impish mischief of Gene (played by Amy Kelly), the macho posturing of Blades & Vinnie (James Hulme & James Godfrey) and an age old story of two lovers from the opposite sides. Playing out like a futuristic West Side Story, Buddy (a very dishy Simon Morgan-Thomas, according to my daughter) and Eve (a very cute Stephanie Clarke) try to unite the two sides but as with all torn-lovers tales, it is far from easy.\r\n\r\nAs the story works towards its conclusion the beats become more frantic, the surprises get bigger and the choreography even more impressive (there’s a great scene set in almost complete darkness – honest, believe me!). I won’t spoil things by telling you the rest of the show, ‘cept to say that you should really seek out this production, take the family and go lose yourself in the rhythm.\r\n\r\nAt the end, once the final curtain came down, there was a quiet sense of awe in the audience, almost like a collective reasoning, like we had shared a moment. We probably had as no-one truly knew what to expect, yet everyone agreed it was awesome.\r\n\r\nThere have been some iconic shows which define or even create their own genres; Riverdance, Cirque de Soliel, The Mousetrap, We Will Rock You – I believe that we have seen another tonight which could do the same – it truly is that special that I urge anyone to treat themselves and go and see it this weekend.','What\'s On Northeast','','inherit','closed','open','','168-revision-10','','','2012-01-23 19:18:30','2012-01-23 19:18:30','',168,'http://www.ethanlewismaltby.com/Home/168-revision-10/',0,'revision','',0),(202,1,'2012-01-23 19:27:32','2012-01-23 19:27:32','

\"Ethan Lewis Maltby’s DrumChasers is unlike any other show I have ever seen; a mesmerising blend of unbelievable drumming coupled with beautiful dancing all set to a futuristic tale of power, rivalry and love.\"

\r\n\r\n \r\n\r\nDrumChasers at the Civic – A New Masterpiece\r\n\r\nBy Andy Bramfitt\r\n\r\nYou know, with all the social media, tweeting, facebook etc I honestly thought that the days of finding a new show for which I had no ideas, expectations or pre-conceptions was sadly over. (To tell you a secret, all my life I have wished I had been in the audience for the first showing of the Rocky Horror Show, way back before the midnight costume parties and the huge cult following but alas no, I was destined just to be a follower.)\r\n\r\nWell after tonight I honestly believe that in years to come I can stand proud and say “Yes, I saw it before they took the West End by storm”.\r\n\r\nEthan Lewis Maltby’s DrumChasers is unlike any other show I have ever seen; a mesmerising blend of unbelievable drumming coupled with beautiful dancing all set to a futuristic tale of power, rivalry and love. Actually, to say its all drumming is doing a grave dis-service to the whole percussion experience including some truly beautiful glokenspiel melodies. This is story-telling-without-words at its best and it had me hooked from the first beat to the very last.\r\n\r\nGeorgina King’s choreography is wonderfully synchronised, evocotive and yet simple, but it’s not until you really watch the stage that you realise that it’s no mean feat to match expressive dance with demanding drumming & exacting rhythms.\r\n\r\nMake no mistake, this is not a show of 10 drummers simply stood on stage; each character has their own story, their own personality which they bring to the fore through genuine acting (there is no dialogue at all which makes the story telling even more engaging) and very quickly you understand the premise of the show, even before Stephen Fry’s narration of the Noiseland Tale (written by Jenna Donnelly) comes in about half way through act 1.\r\n\r\nThe story, without wanting to give too much away, is about a race of people, the Drumchasers from Noiseland, who, through the loss of a worshipped relic become fractured and warring. This relic finds it’s way to earth and is discovered by Mr Bennet, a stage caretaker (played wonderfully by somebody’s grandad – actually its none other than Mr Jack Warner). His unwitting discovery prompts the Drumchasers and their guardian peacekeeper Weckl (deliciously played by the vampish Rachel Stock) to come to earth and continue their rivalry. This is done through what I can only describe as battle drumming, a sort of dance off using percussion.\r\n\r\nThrough all of this we are treated to the impish mischief of Gene (played by Amy Kelly), the macho posturing of Blades & Vinnie (James Hulme & James Godfrey) and an age old story of two lovers from the opposite sides. Playing out like a futuristic West Side Story, Buddy (a very dishy Simon Morgan-Thomas, according to my daughter) and Eve (a very cute Stephanie Clarke) try to unite the two sides but as with all torn-lovers tales, it is far from easy.\r\n\r\nAs the story works towards its conclusion the beats become more frantic, the surprises get bigger and the choreography even more impressive (there’s a great scene set in almost complete darkness – honest, believe me!). I won’t spoil things by telling you the rest of the show, ‘cept to say that you should really seek out this production, take the family and go lose yourself in the rhythm.\r\n\r\nAt the end, once the final curtain came down, there was a quiet sense of awe in the audience, almost like a collective reasoning, like we had shared a moment. We probably had as no-one truly knew what to expect, yet everyone agreed it was awesome.\r\n\r\nThere have been some iconic shows which define or even create their own genres; Riverdance, Cirque de Soliel, The Mousetrap, We Will Rock You – I believe that we have seen another tonight which could do the same – it truly is that special that I urge anyone to treat themselves and go and see it this weekend.','What\'s On Northeast','','inherit','closed','open','','168-revision-11','','','2012-01-23 19:27:32','2012-01-23 19:27:32','',168,'http://www.ethanlewismaltby.com/Home/168-revision-11/',0,'revision','',0),(204,1,'2012-01-23 19:28:58','2012-01-23 19:28:58','

\"Ethan Lewis Maltby’s DrumChasers is unlike any other show I have ever seen; a mesmerising blend of unbelievable drumming coupled with beautiful dancing all set to a futuristic tale of power, rivalry and love.\"

\r\n\r\n \r\n\r\nDrumChasers at the Civic – A New Masterpiece\r\n\r\nBy Andy Bramfitt\r\n\r\nYou know, with all the social media, tweeting, facebook etc I honestly thought that the days of finding a new show for which I had no ideas, expectations or pre-conceptions was sadly over. (To tell you a secret, all my life I have wished I had been in the audience for the first showing of the Rocky Horror Show, way back before the midnight costume parties and the huge cult following but alas no, I was destined just to be a follower.)\r\n\r\nWell after tonight I honestly believe that in years to come I can stand proud and say “Yes, I saw it before they took the West End by storm”.\r\n\r\nEthan Lewis Maltby’s DrumChasers is unlike any other show I have ever seen; a mesmerising blend of unbelievable drumming coupled with beautiful dancing all set to a futuristic tale of power, rivalry and love. Actually, to say its all drumming is doing a grave dis-service to the whole percussion experience including some truly beautiful glokenspiel melodies. This is story-telling-without-words at its best and it had me hooked from the first beat to the very last.\r\n\r\nGeorgina King’s choreography is wonderfully synchronised, evocotive and yet simple, but it’s not until you really watch the stage that you realise that it’s no mean feat to match expressive dance with demanding drumming & exacting rhythms.\r\n\r\nMake no mistake, this is not a show of 10 drummers simply stood on stage; each character has their own story, their own personality which they bring to the fore through genuine acting (there is no dialogue at all which makes the story telling even more engaging) and very quickly you understand the premise of the show, even before Stephen Fry’s narration of the Noiseland Tale (written by Jenna Donnelly) comes in about half way through act 1.\r\n\r\nThe story, without wanting to give too much away, is about a race of people, the Drumchasers from Noiseland, who, through the loss of a worshipped relic become fractured and warring. This relic finds it’s way to earth and is discovered by Mr Bennet, a stage caretaker (played wonderfully by somebody’s grandad – actually its none other than Mr Jack Warner). His unwitting discovery prompts the Drumchasers and their guardian peacekeeper Weckl (deliciously played by the vampish Rachel Stock) to come to earth and continue their rivalry. This is done through what I can only describe as battle drumming, a sort of dance off using percussion.\r\n\r\nThrough all of this we are treated to the impish mischief of Gene (played by Amy Kelly), the macho posturing of Blades & Vinnie (James Hulme & James Godfrey) and an age old story of two lovers from the opposite sides. Playing out like a futuristic West Side Story, Buddy (a very dishy Simon Morgan-Thomas, according to my daughter) and Eve (a very cute Stephanie Clarke) try to unite the two sides but as with all torn-lovers tales, it is far from easy.\r\n\r\nAs the story works towards its conclusion the beats become more frantic, the surprises get bigger and the choreography even more impressive (there’s a great scene set in almost complete darkness – honest, believe me!). I won’t spoil things by telling you the rest of the show, ‘cept to say that you should really seek out this production, take the family and go lose yourself in the rhythm.\r\n\r\nAt the end, once the final curtain came down, there was a quiet sense of awe in the audience, almost like a collective reasoning, like we had shared a moment. We probably had as no-one truly knew what to expect, yet everyone agreed it was awesome.\r\n\r\nThere have been some iconic shows which define or even create their own genres; Riverdance, Cirque de Soliel, The Mousetrap, We Will Rock You – I believe that we have seen another tonight which could do the same – it truly is that special that I urge anyone to treat themselves and go and see it this weekend.','What\'s On Northeast','','inherit','closed','open','','168-revision-13','','','2012-01-23 19:28:58','2012-01-23 19:28:58','',168,'http://www.ethanlewismaltby.com/Home/168-revision-13/',0,'revision','',0),(203,1,'2012-01-23 19:28:33','2012-01-23 19:28:33','

\"Ethan Lewis Maltby’s DrumChasers is unlike any other show I have ever seen; a mesmerising blend of unbelievable drumming coupled with beautiful dancing all set to a futuristic tale of power, rivalry and love.\"

\r\n\r\n \r\n\r\n

DrumChasers at the Civic – A New Masterpiece\r\n\r\nBy Andy Bramfitt\r\n\r\nYou know, with all the social media, tweeting, facebook etc I honestly thought that the days of finding a new show for which I had no ideas, expectations or pre-conceptions was sadly over. (To tell you a secret, all my life I have wished I had been in the audience for the first showing of the Rocky Horror Show, way back before the midnight costume parties and the huge cult following but alas no, I was destined just to be a follower.)\r\n\r\nWell after tonight I honestly believe that in years to come I can stand proud and say “Yes, I saw it before they took the West End by storm”.\r\n\r\nEthan Lewis Maltby’s DrumChasers is unlike any other show I have ever seen; a mesmerising blend of unbelievable drumming coupled with beautiful dancing all set to a futuristic tale of power, rivalry and love. Actually, to say its all drumming is doing a grave dis-service to the whole percussion experience including some truly beautiful glokenspiel melodies. This is story-telling-without-words at its best and it had me hooked from the first beat to the very last.\r\n\r\nGeorgina King’s choreography is wonderfully synchronised, evocotive and yet simple, but it’s not until you really watch the stage that you realise that it’s no mean feat to match expressive dance with demanding drumming & exacting rhythms.\r\n\r\nMake no mistake, this is not a show of 10 drummers simply stood on stage; each character has their own story, their own personality which they bring to the fore through genuine acting (there is no dialogue at all which makes the story telling even more engaging) and very quickly you understand the premise of the show, even before Stephen Fry’s narration of the Noiseland Tale (written by Jenna Donnelly) comes in about half way through act 1.\r\n\r\nThe story, without wanting to give too much away, is about a race of people, the Drumchasers from Noiseland, who, through the loss of a worshipped relic become fractured and warring. This relic finds it’s way to earth and is discovered by Mr Bennet, a stage caretaker (played wonderfully by somebody’s grandad – actually its none other than Mr Jack Warner). His unwitting discovery prompts the Drumchasers and their guardian peacekeeper Weckl (deliciously played by the vampish Rachel Stock) to come to earth and continue their rivalry. This is done through what I can only describe as battle drumming, a sort of dance off using percussion.\r\n\r\nThrough all of this we are treated to the impish mischief of Gene (played by Amy Kelly), the macho posturing of Blades & Vinnie (James Hulme & James Godfrey) and an age old story of two lovers from the opposite sides. Playing out like a futuristic West Side Story, Buddy (a very dishy Simon Morgan-Thomas, according to my daughter) and Eve (a very cute Stephanie Clarke) try to unite the two sides but as with all torn-lovers tales, it is far from easy.\r\n\r\nAs the story works towards its conclusion the beats become more frantic, the surprises get bigger and the choreography even more impressive (there’s a great scene set in almost complete darkness – honest, believe me!). I won’t spoil things by telling you the rest of the show, ‘cept to say that you should really seek out this production, take the family and go lose yourself in the rhythm.\r\n\r\nAt the end, once the final curtain came down, there was a quiet sense of awe in the audience, almost like a collective reasoning, like we had shared a moment. We probably had as no-one truly knew what to expect, yet everyone agreed it was awesome.\r\n\r\nThere have been some iconic shows which define or even create their own genres; Riverdance, Cirque de Soliel, The Mousetrap, We Will Rock You – I believe that we have seen another tonight which could do the same – it truly is that special that I urge anyone to treat themselves and go and see it this weekend.

','What\'s On Northeast','','inherit','closed','open','','168-revision-12','','','2012-01-23 19:28:33','2012-01-23 19:28:33','',168,'http://www.ethanlewismaltby.com/Home/168-revision-12/',0,'revision','',0),(206,1,'2012-01-23 19:48:03','2012-01-23 19:48:03','\"Ethan Lewis Maltby’s DrumChasers is unlike any other show I have ever seen; a mesmerising blend of unbelievable drumming coupled with beautiful dancing all set to a futuristic tale of power, rivalry and love.\"\r\n\r\nDrumChasers at the Civic – A New Masterpiece\r\n\r\nBy Andy Bramfitt\r\n\r\nYou know, with all the social media, tweeting, facebook etc I honestly thought that the days of finding a new show for which I had no ideas, expectations or pre-conceptions was sadly over. (To tell you a secret, all my life I have wished I had been in the audience for the first showing of the Rocky Horror Show, way back before the midnight costume parties and the huge cult following but alas no, I was destined just to be a follower.)\r\n\r\nWell after tonight I honestly believe that in years to come I can stand proud and say “Yes, I saw it before they took the West End by storm”.\r\n\r\nEthan Lewis Maltby’s DrumChasers is unlike any other show I have ever seen; a mesmerising blend of unbelievable drumming coupled with beautiful dancing all set to a futuristic tale of power, rivalry and love. Actually, to say its all drumming is doing a grave dis-service to the whole percussion experience including some truly beautiful glokenspiel melodies. This is story-telling-without-words at its best and it had me hooked from the first beat to the very last.\r\n\r\nGeorgina King’s choreography is wonderfully synchronised, evocotive and yet simple, but it’s not until you really watch the stage that you realise that it’s no mean feat to match expressive dance with demanding drumming & exacting rhythms.\r\n\r\nMake no mistake, this is not a show of 10 drummers simply stood on stage; each character has their own story, their own personality which they bring to the fore through genuine acting (there is no dialogue at all which makes the story telling even more engaging) and very quickly you understand the premise of the show, even before Stephen Fry’s narration of the Noiseland Tale (written by Jenna Donnelly) comes in about half way through act 1.\r\n\r\nThe story, without wanting to give too much away, is about a race of people, the Drumchasers from Noiseland, who, through the loss of a worshipped relic become fractured and warring. This relic finds it’s way to earth and is discovered by Mr Bennet, a stage caretaker (played wonderfully by somebody’s grandad – actually its none other than Mr Jack Warner). His unwitting discovery prompts the Drumchasers and their guardian peacekeeper Weckl (deliciously played by the vampish Rachel Stock) to come to earth and continue their rivalry. This is done through what I can only describe as battle drumming, a sort of dance off using percussion.\r\n\r\nThrough all of this we are treated to the impish mischief of Gene (played by Amy Kelly), the macho posturing of Blades & Vinnie (James Hulme & James Godfrey) and an age old story of two lovers from the opposite sides. Playing out like a futuristic West Side Story, Buddy (a very dishy Simon Morgan-Thomas, according to my daughter) and Eve (a very cute Stephanie Clarke) try to unite the two sides but as with all torn-lovers tales, it is far from easy.\r\n\r\nAs the story works towards its conclusion the beats become more frantic, the surprises get bigger and the choreography even more impressive (there’s a great scene set in almost complete darkness – honest, believe me!). I won’t spoil things by telling you the rest of the show, ‘cept to say that you should really seek out this production, take the family and go lose yourself in the rhythm.\r\n\r\nAt the end, once the final curtain came down, there was a quiet sense of awe in the audience, almost like a collective reasoning, like we had shared a moment. We probably had as no-one truly knew what to expect, yet everyone agreed it was awesome.\r\n\r\nThere have been some iconic shows which define or even create their own genres; Riverdance, Cirque de Soliel, The Mousetrap, We Will Rock You – I believe that we have seen another tonight which could do the same – it truly is that special that I urge anyone to treat themselves and go and see it this weekend.','What\'s On Northeast','','inherit','closed','open','','168-revision-15','','','2012-01-23 19:48:03','2012-01-23 19:48:03','',168,'http://www.ethanlewismaltby.com/Home/168-revision-15/',0,'revision','',0),(205,1,'2012-01-23 19:36:52','2012-01-23 19:36:52','

\"Ethan Lewis Maltby’s DrumChasers is unlike any other show I have ever seen; a mesmerising blend of unbelievable drumming coupled with beautiful dancing all set to a futuristic tale of power, rivalry and love.\"

\r\n\r\n \r\n\r\n

DrumChasers at the Civic – A New Masterpiece

\r\n\r\n

By Andy Bramfitt

\r\n\r\n

You know, with all the social media, tweeting, facebook etc I honestly thought that the days of finding a new show for which I had no ideas, expectations or pre-conceptions was sadly over. (To tell you a secret, all my life I have wished I had been in the audience for the first showing of the Rocky Horror Show, way back before the midnight costume parties and the huge cult following but alas no, I was destined just to be a follower.)\r\n\r\nWell after tonight I honestly believe that in years to come I can stand proud and say “Yes, I saw it before they took the West End by storm”.\r\n\r\nEthan Lewis Maltby’s DrumChasers is unlike any other show I have ever seen; a mesmerising blend of unbelievable drumming coupled with beautiful dancing all set to a futuristic tale of power, rivalry and love. Actually, to say its all drumming is doing a grave dis-service to the whole percussion experience including some truly beautiful glokenspiel melodies. This is story-telling-without-words at its best and it had me hooked from the first beat to the very last.\r\n\r\nGeorgina King’s choreography is wonderfully synchronised, evocotive and yet simple, but it’s not until you really watch the stage that you realise that it’s no mean feat to match expressive dance with demanding drumming & exacting rhythms.\r\n\r\nMake no mistake, this is not a show of 10 drummers simply stood on stage; each character has their own story, their own personality which they bring to the fore through genuine acting (there is no dialogue at all which makes the story telling even more engaging) and very quickly you understand the premise of the show, even before Stephen Fry’s narration of the Noiseland Tale (written by Jenna Donnelly) comes in about half way through act 1.\r\n\r\nThe story, without wanting to give too much away, is about a race of people, the Drumchasers from Noiseland, who, through the loss of a worshipped relic become fractured and warring. This relic finds it’s way to earth and is discovered by Mr Bennet, a stage caretaker (played wonderfully by somebody’s grandad – actually its none other than Mr Jack Warner). His unwitting discovery prompts the Drumchasers and their guardian peacekeeper Weckl (deliciously played by the vampish Rachel Stock) to come to earth and continue their rivalry. This is done through what I can only describe as battle drumming, a sort of dance off using percussion.\r\n\r\nThrough all of this we are treated to the impish mischief of Gene (played by Amy Kelly), the macho posturing of Blades & Vinnie (James Hulme & James Godfrey) and an age old story of two lovers from the opposite sides. Playing out like a futuristic West Side Story, Buddy (a very dishy Simon Morgan-Thomas, according to my daughter) and Eve (a very cute Stephanie Clarke) try to unite the two sides but as with all torn-lovers tales, it is far from easy.\r\n\r\nAs the story works towards its conclusion the beats become more frantic, the surprises get bigger and the choreography even more impressive (there’s a great scene set in almost complete darkness – honest, believe me!). I won’t spoil things by telling you the rest of the show, ‘cept to say that you should really seek out this production, take the family and go lose yourself in the rhythm.\r\n\r\nAt the end, once the final curtain came down, there was a quiet sense of awe in the audience, almost like a collective reasoning, like we had shared a moment. We probably had as no-one truly knew what to expect, yet everyone agreed it was awesome.\r\n\r\nThere have been some iconic shows which define or even create their own genres; Riverdance, Cirque de Soliel, The Mousetrap, We Will Rock You – I believe that we have seen another tonight which could do the same – it truly is that special that I urge anyone to treat themselves and go and see it this weekend.

','What\'s On Northeast','','inherit','closed','open','','168-revision-14','','','2012-01-23 19:36:52','2012-01-23 19:36:52','',168,'http://www.ethanlewismaltby.com/Home/168-revision-14/',0,'revision','',0),(208,1,'2012-01-23 20:01:15','2012-01-23 20:01:15','DrumChasers at the Civic – A New Masterpiece\r\n\r\nBy Andy Bramfitt\r\n\r\nYou know, with all the social media, tweeting, facebook etc I honestly thought that the days of finding a new show for which I had no ideas, expectations or pre-conceptions was sadly over. (To tell you a secret, all my life I have wished I had been in the audience for the first showing of the Rocky Horror Show, way back before the midnight costume parties and the huge cult following but alas no, I was destined just to be a follower.)\r\n\r\nWell after tonight I honestly believe that in years to come I can stand proud and say “Yes, I saw it before they took the West End by storm”.\r\n\r\nEthan Lewis Maltby’s DrumChasers is unlike any other show I have ever seen; a mesmerising blend of unbelievable drumming coupled with beautiful dancing all set to a futuristic tale of power, rivalry and love. Actually, to say its all drumming is doing a grave dis-service to the whole percussion experience including some truly beautiful glokenspiel melodies. This is story-telling-without-words at its best and it had me hooked from the first beat to the very last.\r\n\r\nGeorgina King’s choreography is wonderfully synchronised, evocotive and yet simple, but it’s not until you really watch the stage that you realise that it’s no mean feat to match expressive dance with demanding drumming & exacting rhythms.\r\n\r\nMake no mistake, this is not a show of 10 drummers simply stood on stage; each character has their own story, their own personality which they bring to the fore through genuine acting (there is no dialogue at all which makes the story telling even more engaging) and very quickly you understand the premise of the show, even before Stephen Fry’s narration of the Noiseland Tale (written by Jenna Donnelly) comes in about half way through act 1.\r\n\r\nThe story, without wanting to give too much away, is about a race of people, the Drumchasers from Noiseland, who, through the loss of a worshipped relic become fractured and warring. This relic finds it’s way to earth and is discovered by Mr Bennet, a stage caretaker (played wonderfully by somebody’s grandad – actually its none other than Mr Jack Warner). His unwitting discovery prompts the Drumchasers and their guardian peacekeeper Weckl (deliciously played by the vampish Rachel Stock) to come to earth and continue their rivalry. This is done through what I can only describe as battle drumming, a sort of dance off using percussion.\r\n\r\nThrough all of this we are treated to the impish mischief of Gene (played by Amy Kelly), the macho posturing of Blades & Vinnie (James Hulme & James Godfrey) and an age old story of two lovers from the opposite sides. Playing out like a futuristic West Side Story, Buddy (a very dishy Simon Morgan-Thomas, according to my daughter) and Eve (a very cute Stephanie Clarke) try to unite the two sides but as with all torn-lovers tales, it is far from easy.\r\n\r\nAs the story works towards its conclusion the beats become more frantic, the surprises get bigger and the choreography even more impressive (there’s a great scene set in almost complete darkness – honest, believe me!). I won’t spoil things by telling you the rest of the show, ‘cept to say that you should really seek out this production, take the family and go lose yourself in the rhythm.\r\n\r\nAt the end, once the final curtain came down, there was a quiet sense of awe in the audience, almost like a collective reasoning, like we had shared a moment. We probably had as no-one truly knew what to expect, yet everyone agreed it was awesome.\r\n\r\nThere have been some iconic shows which define or even create their own genres; Riverdance, Cirque de Soliel, The Mousetrap, We Will Rock You – I believe that we have seen another tonight which could do the same – it truly is that special that I urge anyone to treat themselves and go and see it this weekend.','What\'s On Northeast','\"Ethan Lewis Maltby’s DrumChasers is unlike any other show I have ever seen; a mesmerising blend of unbelievable drumming coupled with beautiful dancing all set to a futuristic tale of power, rivalry and love.\"','inherit','closed','open','','168-revision-17','','','2012-01-23 20:01:15','2012-01-23 20:01:15','',168,'http://www.ethanlewismaltby.com/Home/168-revision-17/',0,'revision','',0),(207,1,'2012-01-23 19:55:24','2012-01-23 19:55:24','\"Ethan Lewis Maltby’s DrumChasers is unlike any other show I have ever seen; a mesmerising blend of unbelievable drumming coupled with beautiful dancing all set to a futuristic tale of power, rivalry and love.\"\r\n\r\n \r\n\r\n \r\n\r\n \r\n\r\nDrumChasers at the Civic – A New Masterpiece\r\n\r\nBy Andy Bramfitt\r\n\r\nYou know, with all the social media, tweeting, facebook etc I honestly thought that the days of finding a new show for which I had no ideas, expectations or pre-conceptions was sadly over. (To tell you a secret, all my life I have wished I had been in the audience for the first showing of the Rocky Horror Show, way back before the midnight costume parties and the huge cult following but alas no, I was destined just to be a follower.)\r\n\r\nWell after tonight I honestly believe that in years to come I can stand proud and say “Yes, I saw it before they took the West End by storm”.\r\n\r\nEthan Lewis Maltby’s DrumChasers is unlike any other show I have ever seen; a mesmerising blend of unbelievable drumming coupled with beautiful dancing all set to a futuristic tale of power, rivalry and love. Actually, to say its all drumming is doing a grave dis-service to the whole percussion experience including some truly beautiful glokenspiel melodies. This is story-telling-without-words at its best and it had me hooked from the first beat to the very last.\r\n\r\nGeorgina King’s choreography is wonderfully synchronised, evocotive and yet simple, but it’s not until you really watch the stage that you realise that it’s no mean feat to match expressive dance with demanding drumming & exacting rhythms.\r\n\r\nMake no mistake, this is not a show of 10 drummers simply stood on stage; each character has their own story, their own personality which they bring to the fore through genuine acting (there is no dialogue at all which makes the story telling even more engaging) and very quickly you understand the premise of the show, even before Stephen Fry’s narration of the Noiseland Tale (written by Jenna Donnelly) comes in about half way through act 1.\r\n\r\nThe story, without wanting to give too much away, is about a race of people, the Drumchasers from Noiseland, who, through the loss of a worshipped relic become fractured and warring. This relic finds it’s way to earth and is discovered by Mr Bennet, a stage caretaker (played wonderfully by somebody’s grandad – actually its none other than Mr Jack Warner). His unwitting discovery prompts the Drumchasers and their guardian peacekeeper Weckl (deliciously played by the vampish Rachel Stock) to come to earth and continue their rivalry. This is done through what I can only describe as battle drumming, a sort of dance off using percussion.\r\n\r\nThrough all of this we are treated to the impish mischief of Gene (played by Amy Kelly), the macho posturing of Blades & Vinnie (James Hulme & James Godfrey) and an age old story of two lovers from the opposite sides. Playing out like a futuristic West Side Story, Buddy (a very dishy Simon Morgan-Thomas, according to my daughter) and Eve (a very cute Stephanie Clarke) try to unite the two sides but as with all torn-lovers tales, it is far from easy.\r\n\r\nAs the story works towards its conclusion the beats become more frantic, the surprises get bigger and the choreography even more impressive (there’s a great scene set in almost complete darkness – honest, believe me!). I won’t spoil things by telling you the rest of the show, ‘cept to say that you should really seek out this production, take the family and go lose yourself in the rhythm.\r\n\r\nAt the end, once the final curtain came down, there was a quiet sense of awe in the audience, almost like a collective reasoning, like we had shared a moment. We probably had as no-one truly knew what to expect, yet everyone agreed it was awesome.\r\n\r\nThere have been some iconic shows which define or even create their own genres; Riverdance, Cirque de Soliel, The Mousetrap, We Will Rock You – I believe that we have seen another tonight which could do the same – it truly is that special that I urge anyone to treat themselves and go and see it this weekend.','What\'s On Northeast','','inherit','closed','open','','168-revision-16','','','2012-01-23 19:55:24','2012-01-23 19:55:24','',168,'http://www.ethanlewismaltby.com/Home/168-revision-16/',0,'revision','',0),(209,1,'2012-01-23 20:02:10','2012-01-23 20:02:10','DrumChasers at the Civic – A New Masterpiece\r\n\r\n \r\n\r\nBy Andy Bramfitt\r\n\r\n \r\n\r\nYou know, with all the social media, tweeting, facebook etc I honestly thought that the days of finding a new show for which I had no ideas, expectations or pre-conceptions was sadly over. (To tell you a secret, all my life I have wished I had been in the audience for the first showing of the Rocky Horror Show, way back before the midnight costume parties and the huge cult following but alas no, I was destined just to be a follower.)\r\n\r\nWell after tonight I honestly believe that in years to come I can stand proud and say “Yes, I saw it before they took the West End by storm”.\r\n\r\nEthan Lewis Maltby’s DrumChasers is unlike any other show I have ever seen; a mesmerising blend of unbelievable drumming coupled with beautiful dancing all set to a futuristic tale of power, rivalry and love. Actually, to say its all drumming is doing a grave dis-service to the whole percussion experience including some truly beautiful glokenspiel melodies. This is story-telling-without-words at its best and it had me hooked from the first beat to the very last.\r\n\r\nGeorgina King’s choreography is wonderfully synchronised, evocotive and yet simple, but it’s not until you really watch the stage that you realise that it’s no mean feat to match expressive dance with demanding drumming & exacting rhythms.\r\n\r\nMake no mistake, this is not a show of 10 drummers simply stood on stage; each character has their own story, their own personality which they bring to the fore through genuine acting (there is no dialogue at all which makes the story telling even more engaging) and very quickly you understand the premise of the show, even before Stephen Fry’s narration of the Noiseland Tale (written by Jenna Donnelly) comes in about half way through act 1.\r\n\r\nThe story, without wanting to give too much away, is about a race of people, the Drumchasers from Noiseland, who, through the loss of a worshipped relic become fractured and warring. This relic finds it’s way to earth and is discovered by Mr Bennet, a stage caretaker (played wonderfully by somebody’s grandad – actually its none other than Mr Jack Warner). His unwitting discovery prompts the Drumchasers and their guardian peacekeeper Weckl (deliciously played by the vampish Rachel Stock) to come to earth and continue their rivalry. This is done through what I can only describe as battle drumming, a sort of dance off using percussion.\r\n\r\nThrough all of this we are treated to the impish mischief of Gene (played by Amy Kelly), the macho posturing of Blades & Vinnie (James Hulme & James Godfrey) and an age old story of two lovers from the opposite sides. Playing out like a futuristic West Side Story, Buddy (a very dishy Simon Morgan-Thomas, according to my daughter) and Eve (a very cute Stephanie Clarke) try to unite the two sides but as with all torn-lovers tales, it is far from easy.\r\n\r\nAs the story works towards its conclusion the beats become more frantic, the surprises get bigger and the choreography even more impressive (there’s a great scene set in almost complete darkness – honest, believe me!). I won’t spoil things by telling you the rest of the show, ‘cept to say that you should really seek out this production, take the family and go lose yourself in the rhythm.\r\n\r\nAt the end, once the final curtain came down, there was a quiet sense of awe in the audience, almost like a collective reasoning, like we had shared a moment. We probably had as no-one truly knew what to expect, yet everyone agreed it was awesome.\r\n\r\nThere have been some iconic shows which define or even create their own genres; Riverdance, Cirque de Soliel, The Mousetrap, We Will Rock You – I believe that we have seen another tonight which could do the same – it truly is that special that I urge anyone to treat themselves and go and see it this weekend.','What\'s On Northeast','\"Ethan Lewis Maltby’s DrumChasers is unlike any other show I have ever seen; a mesmerising blend of unbelievable drumming coupled with beautiful dancing all set to a futuristic tale of power, rivalry and love.\"','inherit','closed','open','','168-revision-18','','','2012-01-23 20:02:10','2012-01-23 20:02:10','',168,'http://www.ethanlewismaltby.com/Home/168-revision-18/',0,'revision','',0),(243,1,'2012-01-23 20:49:14','2012-01-23 20:49:14','
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Video

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','','','inherit','closed','open','','36-revision-68','','','2012-01-23 20:49:14','2012-01-23 20:49:14','',36,'http://www.ethanlewismaltby.com/Home/36-revision-68/',0,'revision','',0),(210,1,'2012-01-23 20:09:38','2012-01-23 20:09:38','By Jonathan Wilkes\n\n \n\nNoise Ensemble’s epic musical DrumChasers, replacing vocals with percussion, is an explosive display of sound and light. Eleven virtuosic performers with endless energy and talent offered a mesmerising experience and a beautiful story.\n\n \n\nCaretaker at a concert hall, Mr Bennett (Jack Warner), witnesses a doorway opening to a dystopian world where people play percussion instruments, inlcuding drums, xylophones and triangles, as communication. And Noiseland’s inhabitants play extremely well, never missing a beat.\n\n \n\nA Dr Seuss-esque narration by Stephen Fry tells us they are caught in an age-old feud. War is prevented only by the mystical powers of the Noise Wrangler and her purple lightsabres. A blossoming Romeo and Juliet romance and a discovery by Mr Bennett however could lead to peace.\n\n \n\nThe truly spectacular DrumChasers leaves one in awe of how every element worked in exquisite harmony. It perfectly balanced gravitas and self-deprecation so the audience (which should have been bigger) never doubted Noise Ensemble’s soulful tale.\n\n \n\nThe melodious music, accompanied by a spellbinding orchestral and electric score, was extraordinary: powerful, stentorian drumming quickly followed by more melodious, playful flourishes on xylophones and glockenspiels.\n\n \n\nIt had action, romance, poignancy and comedy – a pitch-black performance with glow-in-the-dark levitating drums being especially funny. The industrial set and apocalyptic costumes, and a literally breath-taking lighting design, really enhanced the production.\n\n \n\nSpecial mention must go to Georgina King for the exhilarating choreography and to composer, director and creator Ethan Lewis Maltby.\n\n \n\nHis resplendent production is a profoundly affecting and memorable theatrical experience.\n\n \n\nHere’s hoping the doorway to Noiseland opens again.','The York Press','','inherit','closed','open','','172-autosave','','','2012-01-23 20:09:38','2012-01-23 20:09:38','',172,'http://www.ethanlewismaltby.com/Home/172-autosave/',0,'revision','',0),(211,1,'2012-01-23 16:47:57','2012-01-23 16:47:57','Lorem ipsum dolor sit amet, consectetur adipisicing elit, sed do eiusmod tempor incididunt ut labore et dolore magna aliqua. Ut enim ad minim veniam, quis nostrud exercitation ullamco laboris nisi ut aliquip ex ea commodo consequat.','Review 2','','inherit','closed','open','','172-revision-3','','','2012-01-23 16:47:57','2012-01-23 16:47:57','',172,'http://www.ethanlewismaltby.com/Home/172-revision-3/',0,'revision','',0),(212,1,'2012-01-23 20:13:41','2012-01-23 20:13:41','By Vera Fletcher\n\n \n\nDrumChasers sells itself as an explosion of sound and light with a story of romance, rivalry and rhythm and it doesn\'t disappoint. Think Romeo and Juliet with drumsticks (and without the poison). The synopsis of the show tells the story of Mr Bennett, a caretaker in an old concert hall who looks after the instruments stored within its walls. However, one night, something happens, something loud and something otherworldly and he is transported to the land of the DrumChasers. I felt this premise got a bit lost within the first ten minutes, Mr Bennett being swiftly cast aside from view and frantic, captivating drumming prevailed. Just when I had almost written off the storyline as a feeble excuse for a night of intoxicating percussion, the soothing tones of Stephen Fry stepped in to narrate and educate the audience on The Noiseland Tale. Aside from the intermittent guidance of Mr Fry this story was told solely through the use of incredibly skilled drumming, expressive dance and imaginative lighting. Armed with drumsticks as weapons, the fight scenes made convincing battles with emotional integrity. The underlying love story was a particular highlight which needed no explanation, proving some of the best stories are wordless.\n\n \n\nThe performance was polished and professional and the story gained in momentum and strength as the show progressed. Mr Bennett too, being given a bit more stage time to ingrain himself in the performance. The drumming was electric and the energy was infectious, at times it took great pains not to jump up and join in from the aisles. Thankfully towards the shows end there was opportunity to participate rhythmically from the safety of your seat which culminated in a loud surge of release from the audience of previously bottled toe tapping and hand clapping.\n\n \n\nAlong the same vein, if you liked Stomp you\'ll love DrumChasers, an uplifting, enjoyable night out even for those with no rhythm.','RemoteGoat','\"A night of intoxicating percussion...the energy was infectious, at times it took great pains not to jump up and join in from the aisles.\"','inherit','closed','open','','174-autosave','','','2012-01-23 20:13:41','2012-01-23 20:13:41','',174,'http://www.ethanlewismaltby.com/Home/174-autosave/',0,'revision','',0),(213,1,'2012-01-23 18:12:36','2012-01-23 18:12:36','Lorem ipsum dolor sit amet, consectetur adipisicing elit, sed do eiusmod tempor incididunt ut labore et dolore magna aliqua. Ut enim ad minim veniam, quis nostrud exercitation ullamco laboris nisi ut aliquip ex ea commodo consequat. Duis aute irure dolor in reprehenderit in voluptate velit esse cillum dolore eu fugiat nulla pariatur. Excepteur sint occaecat cupidatat non proident, sunt in culpa qui officia deserunt mollit anim id est laborum. Lorem ipsum dolor sit amet, consectetur adipisicing elit, sed do eiusmod tempor incididunt ut labore et dolore magna aliqua. Ut enim ad minim veniam, quis nostrud exercitation ullamco laboris nisi ut aliquip ex ea commodo consequat. Duis aute irure dolor in reprehenderit in voluptate velit esse cillum dolore eu fugiat nulla pariatur. Excepteur sint occaecat cupidatat non proident, sunt in culpa qui officia deserunt mollit anim id est laborum.Lorem ipsum dolor sit amet, consectetur adipisicing elit, sed do eiusmod tempor incididunt ut labore et dolore magna aliqua. Ut enim ad minim veniam, quis nostrud exercitation ullamco laboris nisi ut aliquip ex ea commodo consequat. Duis aute irure dolor in reprehenderit in voluptate velit esse cillum dolore eu fugiat nulla pariatur. Excepteur sint occaecat cupidatat non proident, sunt in culpa qui officia deserunt mollit anim id est laborum. Lorem ipsum dolor sit amet, consectetur adipisicing elit, sed do eiusmod tempor incididunt ut labore et dolore magna aliqua. Ut enim ad minim veniam, quis nostrud exercitation ullamco laboris nisi ut aliquip ex ea commodo consequat. Duis aute irure dolor in reprehenderit in voluptate velit esse cillum dolore eu fugiat nulla pariatur. Excepteur sint occaecat cupidatat non proident, sunt in culpa qui officia deserunt mollit anim id est laborum.Lorem ipsum dolor sit amet, consectetur adipisicing elit, sed do eiusmod tempor incididunt ut labore et dolore magna aliqua. Ut enim ad minim veniam, quis nostrud exercitation ullamco laboris nisi ut aliquip ex ea commodo consequat. Duis aute irure dolor in reprehenderit in voluptate velit esse cillum dolore eu fugiat nulla pariatur. Excepteur sint occaecat cupidatat non proident, sunt in culpa qui officia deserunt mollit anim id est laborum. Lorem ipsum dolor sit amet, consectetur adipisicing elit, sed do eiusmod tempor incididunt ut labore et dolore magna aliqua. Ut enim ad minim veniam, quis nostrud exercitation ullamco laboris nisi ut aliquip ex ea commodo consequat. Duis aute irure dolor in reprehenderit in voluptate velit esse cillum dolore eu fugiat nulla pariatur. Excepteur sint occaecat cupidatat non proident, sunt in culpa qui officia deserunt mollit anim id est laborum.','Review 3','','inherit','closed','open','','174-revision-3','','','2012-01-23 18:12:36','2012-01-23 18:12:36','',174,'http://www.ethanlewismaltby.com/Home/174-revision-3/',0,'revision','',0),(215,1,'2012-01-23 16:47:36','2012-01-23 16:47:36','Lorem ipsum dolor sit amet, consectetur adipisicing elit, sed do eiusmod tempor incididunt ut labore et dolore magna aliqua. Ut enim ad minim veniam, quis nostrud exercitation ullamco laboris nisi ut aliquip ex ea commodo consequat.','Review 4','','inherit','closed','open','','176-revision-4','','','2012-01-23 16:47:36','2012-01-23 16:47:36','',176,'http://www.ethanlewismaltby.com/Home/176-revision-4/',0,'revision','',0),(216,1,'2012-01-23 20:18:07','2012-01-23 20:18:07','WHAT A Show, Drumchasers has certainly promised a great evenings entertainment in Torquay – This is something that you’ve NEVER Seen before, it is a Musical, without words – but a Hell of a lot of drums!!\n\n \n\nFeaturing the Voice of Stephen Fry, this show has everything, Music, Action, Comedy, Fun, Energy! It was immense. I was so glad to be able to see this show in Torquay, it was a shame to see that the 1,500 seater venue was only a third full, which was a real shame, as the amount of energy that each cast member put into this show – was totally amazing.\n\n \n\nThe music was just great listening, and certainly put a smile on your face watching, my mother in fact took a short video of the show, and I hope that we’re not breaching any copyright laws, but I feel that other people should see HOW amazing this show actually is.\n\n \n\nThe show features all percussions from a Triangle to a Drum, and an amazing 10 minute piece to a Xylophone. A Cast of 11 play with their hearts content, this amazing choreographed production though a Romeo and Juliet story set in ‘Noiseland’ world, which expands into the Human world of an old Theatre where the caretaker ‘Mr Bennett’ played by Jack Warner looks after the instruments which are stored there, he’s the one that solves the way which brings back the peace to everyone at Noiseland.\n\n \n\nDrumchasers is an entertaining piece of work, and the skill which is used throughout the show, not just playing the instruments by dancing with them, and making the show come alive is amazing. The Sound was superb, and the Lighting – Wow, It was FANTASTIC! The lighting designer for this show must be very proud, and I Can imagine very fun to design.\n\n \n\nThis is a NEW Show, and I understand why there maybe wasn’t so many people – But, if this show comes near you, it’s 100% worth a watch! Buy Tickets!!\n\n \n\nPLEASE Come back to Torquay Drumchasers!','Talk Torbay','\"The music was just great listening...','inherit','closed','open','','182-autosave','','','2012-01-23 20:18:07','2012-01-23 20:18:07','',182,'http://www.ethanlewismaltby.com/Home/182-autosave/',0,'revision','',0),(217,1,'2012-01-23 16:58:01','2012-01-23 16:58:01','Lorem ipsum dolor sit amet, consectetur adipisicing elit, sed do eiusmod tempor incididunt ut labore et dolore magna aliqua. Ut enim ad minim veniam, quis nostrud exercitation ullamco laboris nisi ut aliquip ex ea commodo consequat. Duis aute irure dolor in reprehenderit in voluptate velit esse cillum dolore eu fugiat nulla pariatur. Excepteur sint occaecat cupidatat non proident, sunt in culpa qui officia deserunt mollit anim id est laborum. Lorem ipsum dolor sit amet, consectetur adipisicing elit, sed do eiusmod tempor incididunt ut labore et dolore magna aliqua. Ut enim ad minim veniam, quis nostrud exercitation ullamco laboris nisi ut aliquip ex ea commodo consequat. Duis aute irure dolor in reprehenderit in voluptate velit esse cillum dolore eu fugiat nulla pariatur. Excepteur sint occaecat cupidatat non proident, sunt in culpa qui officia deserunt mollit anim id est laborum.','Review 5','','inherit','closed','open','','182-revision-2','','','2012-01-23 16:58:01','2012-01-23 16:58:01','',182,'http://www.ethanlewismaltby.com/Home/182-revision-2/',0,'revision','',0),(218,1,'2012-02-06 14:08:41','2012-02-06 14:08:41','Review by Peter Lathan (2011)\n\nThe advertising for DrumChasers promises \"an evening quite unlike anything you’ve seen before.\" It is, we are told, \"a musical without words, but with drums.\"\n\n \n\nIt\'s a percussion show, from drum kit to triangle, from gong to xylophone. A cast of eleven (plus voice-over by Stephen Fry) play their carefully and tightly choreographed way through a variant on the Romeo and Juliet story set in a parallel world, Noiseland, which somehow bursts into our world in an old concert hall where caretaker Mr Bennett, played by Jack Warner, looks after the instruments stored there. He is to be the instrument (pun intended) which solves Noiseland\'s age-old problems and bringing back peace.\n\n \n\nAnd that\'s not a spoiler: it\'s in the advertising!\n\n \n\nThis could be the recipe for something cringingly self-indugent, and that feeling was exacerbated by the fact that, because I arrived early and was on my own for this show, I read the programme before it started. There, on the first inside page, was an introduction, written in verse which could have been penned by that master of the appalling rhyme, William McGonagall. My heart sank!\n\n \n\n(Those who don\'t know McGonagall really should look at McGonagall Online and marvel!)\n\n \n\nIf I say that, about a third of the way through the first act, these words are spoken by Stephen Fry, you will realise - as I did at that moment - that this is not a show that takes itself too seriously. Indeed, it is shot through with self-deprecating humour, subverting any expectation that we are going to get a tragedy - or even a melodrama. And it gets that balance between humour and the seriousness required to interest us in the story exactly right.\n\n \n\nWhat DrumChasers actually is is very entertaining, even for those who are not particularly interested in percussion. The skill, talent and commitment of the performers are amazing and the lighting - inevitably very rock concert influenced - impressive. The movement of the instruments on, off and around the stage (by the cast) is smooth and quick and the costumes and make-up were close to but not exactly of this world, nicely contrasted with Mr Bennett\'s brown coat and flat cap. I did wonder if the sticks which the Noise Wrangler uses to control her people were meant to remind us of Jedi light sabres. They certainly did me.\n\n \n\nBut it is the performances which will stick in the memory. There was a number (I can\'t think of any other word) in which two opposing faction members fought each other, circling back and forth round two xylophones placed centrestage and never missing a note or even for a second losing their confrontational body language and expressions. And a comic highlight was a duel between two triangle playing cast members.\n\n \n\nGreat fun!','Great British Theatre','\"Very entertaining...\"','inherit','closed','open','','184-autosave','','','2012-02-06 14:08:41','2012-02-06 14:08:41','',184,'http://www.ethanlewismaltby.com/Home/184-autosave/',0,'revision','',0),(219,1,'2012-01-23 16:58:30','2012-01-23 16:58:30','Lorem ipsum dolor sit amet, consectetur adipisicing elit, sed do eiusmod tempor incididunt ut labore et dolore magna aliqua. Ut enim ad minim veniam, quis nostrud exercitation ullamco laboris nisi ut aliquip ex ea commodo consequat.','Review 6','','inherit','closed','open','','184-revision-2','','','2012-01-23 16:58:30','2012-01-23 16:58:30','',184,'http://www.ethanlewismaltby.com/Home/184-revision-2/',0,'revision','',0),(220,1,'2012-02-06 14:07:02','2012-02-06 14:07:02','It is not very often that one gets to see a world premiere, especially a world premiere in Blackpool, so we were delighted to be able to go and see the first ever performance of the new percussion based musical DrumChasers at the Blackpool Grand Theatre. Having not seen the previous “Noise Ensemble” we really did not know what to expect and went along with completely open minds. Think Ultravox (John Foxx version) do Coppelia, Doctor Who does West Side story and the Terminator meets Les Mis and you’re part way there.\n\n \n\nOddly enough, the caretaker - Mr Bennett - who starts off looking like a bedraggled Blakey out of “On The Buses” -ends up the hero in this tale of factions of warring musicians from another world, which is delightfully narrated by an absently bodied Stephen Fry. Apart from Fry’s outlining of the story, there are no words at all – no dialogue, no singing, more akin to a ballet in fact, relying purely on expressive dance routines and plenty of percussion as the story is told through a succession of musical numbers of varying dramatic gravitas. But this is not just two hours of mindless heavy drumming by any means. In a well balanced score that could easily grace a Hollywood sci fi blockbuster, we have a drummers duel, a piece played solely on the triangle and a romantic glockenspiel moment . There are several enchanting xylophone melodies – bringing to mind dreamy images of tropical rain forests or trickling streams or wherever your own thoughts might take you, carried off by the music.\n\n \n\nAwesome! Spellbinding! Magical! DrumChasers puts you in touch with the primitive being inside you, and in two of the numbers the audience were invited to join in. We loved every minute – from start to finish a fantastic fairytale. Marvellous choreography – the grim set and the war scenes were reminiscent of Les Miserables. Superb performances from talented and versatile musicians/dancers. If only we could somehow learn to harness the energy generated by the dynamic performers on the set of DrumChasers we could indeed save the world from nuclear meltdown. This is not mainstream theatre by any means but all the same absolutely unmissable. Please go and see it.','Best Kept Secrets','Awesome! Spellbinding! Magical!...There are several enchanting xylophone melodies – bringing to mind dreamy images of tropical rain forests or trickling streams or wherever your own thoughts might take you, carried off by the music.','inherit','closed','open','','186-autosave','','','2012-02-06 14:07:02','2012-02-06 14:07:02','',186,'http://www.ethanlewismaltby.com/Home/186-autosave/',0,'revision','',0),(221,1,'2012-01-23 16:59:10','2012-01-23 16:59:10','Lorem ipsum dolor sit amet, consectetur adipisicing elit, sed do eiusmod tempor incididunt ut labore et dolore magna aliqua. Ut enim ad minim veniam, quis nostrud exercitation ullamco laboris nisi ut aliquip ex ea commodo consequat.','Review 7','','inherit','closed','open','','186-revision-2','','','2012-01-23 16:59:10','2012-01-23 16:59:10','',186,'http://www.ethanlewismaltby.com/Home/186-revision-2/',0,'revision','',0),(222,1,'2012-01-23 17:00:56','2012-01-23 17:00:56','Lorem ipsum dolor sit amet, consectetur adipisicing elit, sed do eiusmod tempor incididunt ut labore et dolore magna aliqua. Ut enim ad minim veniam, quis nostrud exercitation ullamco laboris nisi ut aliquip ex ea commodo consequat. Lorem ipsum dolor sit amet, consectetur adipisicing elit, sed do eiusmod tempor incididunt ut labore et dolore magna aliqua. Ut enim ad minim veniam, quis nostrud exercitation ullamco laboris nisi ut aliquip ex ea commodo consequat. Duis aute irure dolor in reprehenderit in voluptate velit esse cillum dolore eu fugiat nulla pariatur. Excepteur sint occaecat cupidatat non proident, sunt in culpa qui officia deserunt mollit anim id est laborum. Lorem ipsum dolor sit amet, consectetur adipisicing elit, sed do eiusmod tempor incididunt ut labore et dolore magna aliqua. Ut enim ad minim veniam, quis nostrud exercitation ullamco laboris nisi ut aliquip ex ea commodo consequat. Duis aute irure dolor in reprehenderit in voluptate velit esse cillum dolore eu fugiat nulla pariatur. Excepteur sint occaecat cupidatat non proident, sunt in culpa qui officia deserunt mollit anim id est laborum.','Review 8','','inherit','closed','open','','188-revision-5','','','2012-01-23 17:00:56','2012-01-23 17:00:56','',188,'http://www.ethanlewismaltby.com/Home/188-revision-5/',0,'revision','',0),(223,1,'2012-02-06 14:04:50','2012-02-06 14:04:50','Touring two prominent south east theatres and focusing on Kent\'s heritage creates a sense of identity for local audiences. However, its appeal would undoubtedly attract a wider audience should Bright Start Productions, in association with the Stag Theatre, Sevenoaks, choose to lengthen their tour. The plot reveals the impulsive Sir William Courtenay, revolutionary and suspected madman. With the energetic strains of Les Miserables, the large cast is headed by Loren Geeting in the title role. It is no surprise Geeting has won awards for his voice as he commands centre stage in both voice and stature. With a Macheath-like charm, Courtenay seduces local protester Sarah Culver (Renée Salewski) though the relationship does not lessen the action. Salewski appears childlike yet her voice reveals a maturity and control demanded of a lead role. Supporting character Katherine Tom (Antonia Bond), Courtenay\'s forgotten wife, appears fleetingly yet captures the sense of the wronged party. Sarah\'s sweetheart Nicholas Mears, played by David Wyatt, is well cast as tragically young and impulsive. Although the scenes seemed more like montages, Christopher Neame\'s script is a good balance of action and romance. George Roman directs and Ethan Lewis Maltby\'s score is beautifully written. This musical sees some spectacular conflict scenes thanks to Paul Romang\'s fight arrangement and the East Kent Living History and Re-Enactment Unit, in full uniform and firing as though their lives really did depend upon it.','The Stage','\"Ethan Lewis Maltby\'s score is beautifully written.\"','inherit','closed','open','','188-autosave','','','2012-02-06 14:04:50','2012-02-06 14:04:50','',188,'http://www.ethanlewismaltby.com/Home/188-autosave/',0,'revision','',0),(224,1,'2012-01-23 20:23:41','2012-01-23 20:23:41','Lorem ipsum dolor sit amet, consectetur adipisicing elit, sed do eiusmod tempor incididunt ut labore et dolore magna aliqua. Ut enim ad minim veniam, quis nostrud exercitation ullamco laboris nisi ut aliquip ex ea commodo consequat. Lorem ipsum dolor sit amet, consectetur adipisicing elit, sed do eiusmod tempor incididunt ut labore et dolore magna aliqua. Ut enim ad minim veniam, quis nostrud exercitation ullamco laboris nisi ut aliquip ex ea commodo consequat. Duis aute irure dolor in reprehenderit in voluptate velit esse cillum dolore eu fugiat nulla pariatur. Excepteur sint occaecat cupidatat non proident, sunt in culpa qui officia deserunt mollit anim id est laborum. Lorem ipsum dolor sit amet, consectetur adipisicing elit, sed do eiusmod tempor incididunt ut labore et dolore magna aliqua. Ut enim ad minim veniam, quis nostrud exercitation ullamco laboris nisi ut aliquip ex ea commodo consequat. Duis aute irure dolor in reprehenderit in voluptate velit esse cillum dolore eu fugiat nulla pariatur. Excepteur sint occaecat cupidatat non proident, sunt in culpa qui officia deserunt mollit anim id est laborum.','Review 8','','inherit','closed','open','','188-revision-6','','','2012-01-23 20:23:41','2012-01-23 20:23:41','',188,'http://www.ethanlewismaltby.com/Home/188-revision-6/',0,'revision','',0),(225,1,'2012-01-23 20:28:56','2012-01-23 20:28:56','Long after the smoke has drifted from the battlefield, audiences will remember Courtenay.\r\n\r\nThis musical plucked from the Kentish history books - and fashioned into a sophisticated entertainment by a composer and lyricist relatively new to the genre – deserves its place on a wider stage.\r\n\r\nBy turns exciting and tender, thought-provoking and uplifting, Courtenay is set around 20 years after the Peterloo massacre and looks behind the curious story of the last battle to be fought on English soil and makes a cracking, three-dimensional show of it. Composer, orchestrator and musical director, Ethan Lewis Maltby, not yet 30 but nevertheless a self-confessed fan of the swashbuckling era, has sewn a rich seam of interwoven themes throughout the two acts. His music hits spot.\r\n\r\nWhile paying plentiful homage to his first musical love, percussion, the score has pace, vitality and, dare I say it, hummability and while that may not be fashionable it certainly helps to convince ticket-buyers that they have had their money’s worth. See a show and take a tune away with you is no bad slogan even for a modern musical.\r\n\r\nEach of the central characters in Courtenay has a haunting theme of his or her own which blend to great effect at moments of tenderness, for this show is not all about dreams of the 19th century working man finding his true worth under the sleety, unforgiving gaze of establishment figures.\r\n\r\nLyricist Christopher Neame has taken a complex subject and given a perspective to Courtenay\'s story that many historians have discarded in favour of a simplistic view that the protagonist was mad and all his followers simple. The lyrics, particularly those given to Courtenay are intelligent without being polemical.\r\n\r\nAt the opening at Canterbury’s Marlowe Theatre on Thursday it was hard to find any chinks in this emotive story of one man\'s slide from visionary enthusiasm to self-delusion and destruction. There were some technical problems, chiefly with the sound balance, but the principals and ensemble worked together to produce a first night to be proud of.\r\n\r\nThe show is fortunate in having a trio of voices at the top that would match the best the West End has to offer. Loren Geeting as Courtenay, Renée Salewski as the object of his desire, Sarah Culver and David Wyatt as Nicholas Mears, the lover cast aside by Culver for Courtenay’s more dazzling attractions, are a class act. Wyatt has a voice that we will hear again and again if the scouts are doing their job and Geeting and Salewski both live up to their credentials.\r\n\r\nLindsey Mack as the Canterbury Marshal, Captain Townsend, cuts a dash darkly as the man who is out to thwart Courtenay\'s egalitarian ambitions. His presence is like that of a sinister crow. Antonia Bond generates tenderness as the wife Courtenay left behind, struggling to understand her husband’s wild side and Anthony Garner provides a solid presence as the narrator Everyman who guides the audience, many of whom will be unfamiliar with the story, carefully and unobtrusively.\r\n\r\nSet design is also instrumental to the success of this show. Veteran film and TV designer Roy Stannard, a newcomer to the theatre whose credits include David Lean\'s Lawrence of Arabia, has produced a simple, yet effective raked platform in which most of the action is concentrated, focusing the attention perfectly.\r\n\r\nAll this is overseen by a reaper, a simple agricultural machine seen as the means by which the landowner will emasculate the labourer.\r\n\r\nAs the show opens, the machine, cast as the grim reaper, dominates a stark scene as the countrysiders who will come to follow Courtenay, scrape a living from the soil while sinister clouds drift across the landscape. The climate of fear is brought home by blood-red effects schemed by Ben M Rogers, a lighting designer with many West End and international credits to his name, whose skills help to create Courtenay\'s many memorable moods.\r\n\r\nThis homespun show is something Kent can be proud of and one that audiences anywhere would appreciate. Surely local history was never this alive, or so worthy of the standing ovation it got on Thursday.\r\n\r\nRussell Flint','Kent on Sunday','On Courtenay... \"By turns exciting and tender, thought-provoking and uplifting, Courtenay is set around 20 years after the Peterloo massacre and looks behind the curious story of the last battle to be fought on English soil and makes a cracking, three-dimensional show of it. Composer, orchestrator and musical director, Ethan Lewis Maltby, not yet 30 but nevertheless a self-confessed fan of the swashbuckling era, has sewn a rich seam of interwoven themes throughout the two acts. His music hits spot.\"','publish','closed','closed','','kent-on-sunday','','','2015-06-18 20:15:20','2015-06-18 20:15:20','',0,'http://www.ethanlewismaltby.com/Home/?p=225',0,'post','',0),(226,1,'2012-01-23 20:27:47','2012-01-23 20:27:47','Long after the smoke has drifted from the battlefield, audiences will remember Courtenay.\n\nThis musical plucked from the Kentish history books - and fashioned into a sophisticated entertainment by a composer and lyricist relatively new to the genre – deserves its place on a wider stage.\n\nBy turns exciting and tender, thought-provoking and uplifting, Courtenay is set around 20 years after the Peterloo massacre and looks behind the curious story of the last battle to be fought on English soil and makes a cracking, three-dimensional show of it. Composer, orchestrator and musical director, Ethan Lewis Maltby, not yet 30 but nevertheless a self-confessed fan of the swashbuckling era, has sewn a rich seam of interwoven themes throughout the two acts. His music hits spot.\n\nWhile paying plentiful homage to his first musical love, percussion, the score has pace, vitality and, dare I say it, hummability and while that may not be fashionable it certainly helps to convince ticket-buyers that they have had their money’s worth. See a show and take a tune away with you is no bad slogan even for a modern musical.\n\nEach of the central characters in Courtenay has a haunting theme of his or her own which blend to great effect at moments of tenderness, for this show is not all about dreams of the 19th century working man finding his true worth under the sleety, unforgiving gaze of establishment figures.\n\nLyricist Christopher Neame has taken a complex subject and given a perspective to Courtenay\'s story that many historians have discarded in favour of a simplistic view that the protagonist was mad and all his followers simple. The lyrics, particularly those given to Courtenay are intelligent without being polemical.\n\nAt the opening at Canterbury’s Marlowe Theatre on Thursday it was hard to find any chinks in this emotive story of one man\'s slide from visionary enthusiasm to self-delusion and destruction. There were some technical problems, chiefly with the sound balance, but the principals and ensemble worked together to produce a first night to be proud of.\n\nThe show is fortunate in having a trio of voices at the top that would match the best the West End has to offer. Loren Geeting as Courtenay, Renée Salewski as the object of his desire, Sarah Culver and David Wyatt as Nicholas Mears, the lover cast aside by Culver for Courtenay’s more dazzling attractions, are a class act. Wyatt has a voice that we will hear again and again if the scouts are doing their job and Geeting and Salewski both live up to their credentials.\n\nLindsey Mack as the Canterbury Marshal, Captain Townsend, cuts a dash darkly as the man who is out to thwart Courtenay\'s egalitarian ambitions. His presence is like that of a sinister crow. Antonia Bond generates tenderness as the wife Courtenay left behind, struggling to understand her husband’s wild side and Anthony Garner provides a solid presence as the narrator Everyman who guides the audience, many of whom will be unfamiliar with the story, carefully and unobtrusively.\n\nSet design is also instrumental to the success of this show. Veteran film and TV designer Roy Stannard, a newcomer to the theatre whose credits include David Lean\'s Lawrence of Arabia, has produced a simple, yet effective raked platform in which most of the action is concentrated, focusing the attention perfectly.\n\nAll this is overseen by a reaper, a simple agricultural machine seen as the means by which the landowner will emasculate the labourer.\n\nAs the show opens, the machine, cast as the grim reaper, dominates a stark scene as the countrysiders who will come to follow Courtenay, scrape a living from the soil while sinister clouds drift across the landscape. The climate of fear is brought home by blood-red effects schemed by Ben M Rogers, a lighting designer with many West End and international credits to his name, whose skills help to create Courtenay\'s many memorable moods.\n\nThis homespun show is something Kent can be proud of and one that audiences anywhere would appreciate. Surely local history was never this alive, or so worthy of the standing ovation it got on Thursday.\n\nRussell Flint','Kent on Sunday','','inherit','closed','open','','225-revision','','','2012-01-23 20:27:47','2012-01-23 20:27:47','',225,'http://www.ethanlewismaltby.com/Home/225-revision/',0,'revision','',0),(227,1,'2012-02-25 13:31:36','2012-02-25 13:31:36','Long after the smoke has drifted from the battlefield, audiences will remember Courtenay.\n\nThis musical plucked from the Kentish history books - and fashioned into a sophisticated entertainment by a composer and lyricist relatively new to the genre – deserves its place on a wider stage.\n\nBy turns exciting and tender, thought-provoking and uplifting, Courtenay is set around 20 years after the Peterloo massacre and looks behind the curious story of the last battle to be fought on English soil and makes a cracking, three-dimensional show of it. Composer, orchestrator and musical director, Ethan Lewis Maltby, not yet 30 but nevertheless a self-confessed fan of the swashbuckling era, has sewn a rich seam of interwoven themes throughout the two acts. His music hits spot.\n\nWhile paying plentiful homage to his first musical love, percussion, the score has pace, vitality and, dare I say it, hummability and while that may not be fashionable it certainly helps to convince ticket-buyers that they have had their money’s worth. See a show and take a tune away with you is no bad slogan even for a modern musical.\n\nEach of the central characters in Courtenay has a haunting theme of his or her own which blend to great effect at moments of tenderness, for this show is not all about dreams of the 19th century working man finding his true worth under the sleety, unforgiving gaze of establishment figures.\n\nLyricist Christopher Neame has taken a complex subject and given a perspective to Courtenay\'s story that many historians have discarded in favour of a simplistic view that the protagonist was mad and all his followers simple. The lyrics, particularly those given to Courtenay are intelligent without being polemical.\n\nAt the opening at Canterbury’s Marlowe Theatre on Thursday it was hard to find any chinks in this emotive story of one man\'s slide from visionary enthusiasm to self-delusion and destruction. There were some technical problems, chiefly with the sound balance, but the principals and ensemble worked together to produce a first night to be proud of.\n\nThe show is fortunate in having a trio of voices at the top that would match the best the West End has to offer. Loren Geeting as Courtenay, Renée Salewski as the object of his desire, Sarah Culver and David Wyatt as Nicholas Mears, the lover cast aside by Culver for Courtenay’s more dazzling attractions, are a class act. Wyatt has a voice that we will hear again and again if the scouts are doing their job and Geeting and Salewski both live up to their credentials.\n\nLindsey Mack as the Canterbury Marshal, Captain Townsend, cuts a dash darkly as the man who is out to thwart Courtenay\'s egalitarian ambitions. His presence is like that of a sinister crow. Antonia Bond generates tenderness as the wife Courtenay left behind, struggling to understand her husband’s wild side and Anthony Garner provides a solid presence as the narrator Everyman who guides the audience, many of whom will be unfamiliar with the story, carefully and unobtrusively.\n\nSet design is also instrumental to the success of this show. Veteran film and TV designer Roy Stannard, a newcomer to the theatre whose credits include David Lean\'s Lawrence of Arabia, has produced a simple, yet effective raked platform in which most of the action is concentrated, focusing the attention perfectly.\n\nAll this is overseen by a reaper, a simple agricultural machine seen as the means by which the landowner will emasculate the labourer.\n\nAs the show opens, the machine, cast as the grim reaper, dominates a stark scene as the countrysiders who will come to follow Courtenay, scrape a living from the soil while sinister clouds drift across the landscape. The climate of fear is brought home by blood-red effects schemed by Ben M Rogers, a lighting designer with many West End and international credits to his name, whose skills help to create Courtenay\'s many memorable moods.\n\nThis homespun show is something Kent can be proud of and one that audiences anywhere would appreciate. Surely local history was never this alive, or so worthy of the standing ovation it got on Thursday.\n\nRussell Flint','Kent on Sunday','On Courtenay... \"By turns exciting and tender, thought-provoking and uplifting, Courtenay is set around 20 years after the Peterloo massacre and looks behind the curious story of the last battle to be fought on English soil and makes a cracking, three-dimensional show of it. Composer, orchestrator and musical director, Ethan Lewis Maltby, not yet 30 but nevertheless a self-confessed fan of the swashbuckling era, has sewn a rich seam of interwoven themes throughout the two acts. His music hits spot.\"','inherit','closed','open','','225-autosave','','','2012-02-25 13:31:36','2012-02-25 13:31:36','',225,'http://www.ethanlewismaltby.com/Home/225-autosave/',0,'revision','',0),(228,1,'2012-01-23 15:19:38','2012-01-23 15:19:38','
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','','','inherit','closed','open','','36-revision-66','','','2012-01-23 20:48:36','2012-01-23 20:48:36','',36,'http://www.ethanlewismaltby.com/Home/36-revision-66/',0,'revision','',0),(241,1,'2012-01-23 20:49:00','2012-01-23 20:49:00','
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','','','inherit','closed','open','','36-revision-67','','','2012-01-23 20:49:00','2012-01-23 20:49:00','',36,'http://www.ethanlewismaltby.com/Home/36-revision-67/',0,'revision','',0),(242,1,'2012-01-23 20:02:44','2012-01-23 20:02:44','DrumChasers at the Civic – A New Masterpiece\r\n\r\n \r\n\r\nBy Andy Bramfitt\r\n\r\n \r\n\r\nYou know, with all the social media, tweeting, facebook etc I honestly thought that the days of finding a new show for which I had no ideas, expectations or pre-conceptions was sadly over. (To tell you a secret, all my life I have wished I had been in the audience for the first showing of the Rocky Horror Show, way back before the midnight costume parties and the huge cult following but alas no, I was destined just to be a follower.)\r\n\r\n \r\n\r\nWell after tonight I honestly believe that in years to come I can stand proud and say “Yes, I saw it before they took the West End by storm”.\r\n\r\n \r\n\r\nEthan Lewis Maltby’s DrumChasers is unlike any other show I have ever seen; a mesmerising blend of unbelievable drumming coupled with beautiful dancing all set to a futuristic tale of power, rivalry and love. Actually, to say its all drumming is doing a grave dis-service to the whole percussion experience including some truly beautiful glokenspiel melodies. This is story-telling-without-words at its best and it had me hooked from the first beat to the very last.\r\n\r\n \r\n\r\nGeorgina King’s choreography is wonderfully synchronised, evocotive and yet simple, but it’s not until you really watch the stage that you realise that it’s no mean feat to match expressive dance with demanding drumming & exacting rhythms.\r\n\r\n \r\n\r\nMake no mistake, this is not a show of 10 drummers simply stood on stage; each character has their own story, their own personality which they bring to the fore through genuine acting (there is no dialogue at all which makes the story telling even more engaging) and very quickly you understand the premise of the show, even before Stephen Fry’s narration of the Noiseland Tale (written by Jenna Donnelly) comes in about half way through act 1.\r\n\r\n \r\n\r\nThe story, without wanting to give too much away, is about a race of people, the Drumchasers from Noiseland, who, through the loss of a worshipped relic become fractured and warring. This relic finds it’s way to earth and is discovered by Mr Bennet, a stage caretaker (played wonderfully by somebody’s grandad – actually its none other than Mr Jack Warner). His unwitting discovery prompts the Drumchasers and their guardian peacekeeper Weckl (deliciously played by the vampish Rachel Stock) to come to earth and continue their rivalry. This is done through what I can only describe as battle drumming, a sort of dance off using percussion.\r\n\r\n \r\n\r\nThrough all of this we are treated to the impish mischief of Gene (played by Amy Kelly), the macho posturing of Blades & Vinnie (James Hulme & James Godfrey) and an age old story of two lovers from the opposite sides. Playing out like a futuristic West Side Story, Buddy (a very dishy Simon Morgan-Thomas, according to my daughter) and Eve (a very cute Stephanie Clarke) try to unite the two sides but as with all torn-lovers tales, it is far from easy.\r\n\r\n \r\n\r\nAs the story works towards its conclusion the beats become more frantic, the surprises get bigger and the choreography even more impressive (there’s a great scene set in almost complete darkness – honest, believe me!). I won’t spoil things by telling you the rest of the show, ‘cept to say that you should really seek out this production, take the family and go lose yourself in the rhythm.\r\n\r\n \r\n\r\nAt the end, once the final curtain came down, there was a quiet sense of awe in the audience, almost like a collective reasoning, like we had shared a moment. We probably had as no-one truly knew what to expect, yet everyone agreed it was awesome.\r\n\r\n \r\n\r\nThere have been some iconic shows which define or even create their own genres; Riverdance, Cirque de Soliel, The Mousetrap, We Will Rock You – I believe that we have seen another tonight which could do the same – it truly is that special that I urge anyone to treat themselves and go and see it this weekend.','What\'s On Northeast','\"Ethan Lewis Maltby’s DrumChasers is unlike any other show I have ever seen; a mesmerising blend of unbelievable drumming coupled with beautiful dancing all set to a futuristic tale of power, rivalry and love.\"','inherit','closed','open','','168-revision-19','','','2012-01-23 20:02:44','2012-01-23 20:02:44','',168,'http://www.ethanlewismaltby.com/Home/168-revision-19/',0,'revision','',0),(246,1,'2012-01-23 21:10:42','2012-01-23 21:10:42','
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','Media','','inherit','closed','open','','36-revision-95','','','2012-01-25 19:12:57','2012-01-25 19:12:57','',36,'http://www.ethanlewismaltby.com/Home/36-revision-95/',0,'revision','',0),(282,1,'2012-01-20 19:26:51','2012-01-20 19:26:51','\"\"\r\n\r\nEthan Lewis Maltby is a British composer based in Canterbury, Kent. He writes music for TV, Theatre, Cinema and the Concert Hall.\r\n\r\nMaltby has scored many films and animations covering many different genres. He has collaborated with Spanish filmmaker Jesús Monllaó on several projects, scoring the award winning \'La Mirada Oblique\', \'Gloria\', and \'The Legacy\', and also with animator Kam-Li Cheng on her stunning animations, \'The Highwayman\' and \'Avatara\'. In late 2006, Maltby scored \'Waste Man\', the Channel 4 documentary on artist Antony Gormley and his sculpture. In theatre, Maltby composed the soundtrack for the first British virtual reality stage play, \'A Midsummer Night\'s Dream\', the score for Hungarian play \'Bloodletting\' and several musicals including \'Courtenay\' (with lyricist Christopher Neame).\r\n\r\nIn 2004 Maltby created, composed and directed \'Noise Ensemble\', a percussion show which has been touring since 2006. This spectacular show has played extensively in UK theatres and venues including The South Bank Centre, Wembley Stadium and on TV\'s Blue Peter. It has also toured Russia, Belgium, Holland, South Korea, Switzerland, Norway and Cyprus. He also composed the score for the 2008 and 2009 FA Cup Final Opening Ceremonies – his track \'FA Overture\' has since become the player\'s walk-on anthem for all major FA games.\r\n\r\nMaltby\'s latest theatrical show \'DrumChasers\' toured the UK in 2011 with narration by Stephen Fry and received many favourable reviews. He is currently back working on his new musical \'Apparition Smith\' before starting pre-production on the score for Jesús Monllaó\'s debut feature film \'Querido Cain\'.','About','','inherit','closed','open','','25-revision-9','','','2012-01-20 19:26:51','2012-01-20 19:26:51','',25,'http://www.ethanlewismaltby.com/Home/25-revision-9/',0,'revision','',0),(283,1,'2012-01-24 20:59:53','2012-01-24 20:59:53','[gravityform id=1 title=false description=false ajax=true]','Contact','','inherit','closed','open','','29-revision-20','','','2012-01-24 20:59:53','2012-01-24 20:59:53','',29,'http://www.ethanlewismaltby.com/Home/29-revision-20/',0,'revision','',0),(284,1,'2012-02-03 18:55:11','2012-02-03 18:55:11','','Snowy','','inherit','closed','open','','snowy-4','','','2012-02-03 18:55:11','2012-02-03 18:55:11','',20,'http://www.ethanlewismaltby.com/Home/wp-content/uploads/2011/12/Snowy.jpg',0,'attachment','image/jpeg',0),(285,1,'2012-01-25 19:13:22','2012-01-25 19:13:22','
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','Media','','inherit','closed','open','','36-revision-96','','','2012-01-25 19:13:22','2012-01-25 19:13:22','',36,'http://www.ethanlewismaltby.com/Home/36-revision-96/',0,'revision','',0),(286,1,'2012-01-25 19:47:31','2012-01-25 19:47:31','[gravityform id=1 title=false description=true ajax=true]','Contact','','inherit','closed','open','','29-revision-21','','','2012-01-25 19:47:31','2012-01-25 19:47:31','',29,'http://www.ethanlewismaltby.com/Home/29-revision-21/',0,'revision','',0),(287,1,'2012-02-03 19:55:34','2012-02-03 19:55:34','[gravityform id=1 title=false description=true ajax=true]','Contact','','inherit','closed','open','','29-revision-22','','','2012-02-03 19:55:34','2012-02-03 19:55:34','',29,'http://www.ethanlewismaltby.com/Home/29-revision-22/',0,'revision','',0),(288,1,'2012-02-03 19:55:44','2012-02-03 19:55:44','[gravityform id=1 title=false description=true ajax=true]','Contact','','inherit','closed','open','','29-revision-23','','','2012-02-03 19:55:44','2012-02-03 19:55:44','',29,'http://www.ethanlewismaltby.com/Home/29-revision-23/',0,'revision','',0),(289,1,'2012-02-03 22:30:50','2012-02-03 22:30:50','[gravityform id=1 title=false description=true ajax=true]','Contact','','inherit','closed','open','','29-revision-24','','','2012-02-03 22:30:50','2012-02-03 22:30:50','',29,'http://www.ethanlewismaltby.com/Home/29-revision-24/',0,'revision','',0),(290,1,'2012-02-03 22:33:32','2012-02-03 22:33:32','[gravityform id=1 title=false description=true ajax=true]','Contact','','inherit','closed','open','','29-revision-25','','','2012-02-03 22:33:32','2012-02-03 22:33:32','',29,'http://www.ethanlewismaltby.com/Home/29-revision-25/',0,'revision','',0),(293,1,'2012-02-04 21:21:59','2012-02-04 21:21:59','\"\"\r\n\r\nEthan Lewis Maltby is a British composer based in Canterbury, Kent. He writes music for TV, Theatre, Cinema and the Concert Hall.\r\n\r\nMaltby has scored many films and animations covering many different genres. He has collaborated with Spanish filmmaker Jesús Monllaó on several projects, scoring the award winning \'La Mirada Oblique\', \'Gloria\', and \'The Legacy\', and also with animator Kam-Li Cheng on her stunning animations, \'The Highwayman\' and \'Avatara\'. In late 2006, Maltby scored \'Waste Man\', the Channel 4 documentary on artist Antony Gormley and his sculpture. In theatre, Maltby composed the soundtrack for the first British virtual reality stage play, \'A Midsummer Night\'s Dream\', the score for Hungarian play \'Bloodletting\' and several musicals including \'Courtenay\' (with lyricist Christopher Neame).\r\n\r\nIn 2004 Maltby created, composed and directed \'Noise Ensemble\', a percussion show which has been touring since 2006. This spectacular show has played extensively in UK theatres and venues including The South Bank Centre, Wembley Stadium and on TV\'s Blue Peter. It has also toured Russia, Belgium, Holland, South Korea, Switzerland, Norway and Cyprus. He also composed the score for the 2008 and 2009 FA Cup Final Opening Ceremonies – his track \'FA Overture\' has since become the player\'s walk-on anthem for all major FA games.\r\n\r\nMaltby\'s latest theatrical show \'DrumChasers\' toured the UK in 2011 with narration by Stephen Fry and received many favourable reviews. He is currently back working on his new musical \'Apparition Smith\' before starting pre-production on the score for Jesús Monllaó\'s debut feature film \'Fill De Cain\'.','About','','inherit','closed','open','','25-revision-12','','','2012-02-04 21:21:59','2012-02-04 21:21:59','',25,'http://www.ethanlewismaltby.com/Home/25-revision-12/',0,'revision','',0),(294,1,'2012-02-04 21:23:49','2012-02-04 21:23:49','\"\"\r\n\r\nEthan Lewis Maltby is a British composer based in Canterbury, Kent. He writes music for TV, Theatre, Cinema and the Concert Hall.\r\n\r\nMaltby has scored many films and animations covering many different genres. He has collaborated with Spanish filmmaker Jesús Monllaó on several projects, scoring the award winning \'La Mirada Oblique\', \'Gloria\', and \'The Legacy\', and also with animator Kam-Li Cheng on her stunning animations, \'The Highwayman\' and \'Avatara\'. In late 2006, Maltby scored \'Waste Man\', the Channel 4 documentary on artist Antony Gormley and his sculpture. In theatre, Maltby composed the soundtrack for the first British virtual reality stage play, \'A Midsummer Night\'s Dream\', the score for Hungarian play \'Bloodletting\' and several musicals including \'Courtenay\' (with lyricist Christopher Neame).\r\n\r\nIn 2004 Maltby created, composed and directed \'Noise Ensemble\', a percussion show which has been touring since 2006. This spectacular show has played extensively in UK theatres and venues including The South Bank Centre, Wembley Stadium and on TV\'s Blue Peter. It has also toured Russia, Belgium, Holland, South Korea, Switzerland, Norway and Cyprus. He also composed the score for the 2008 and 2009 FA Cup Final Opening Ceremonies – his track \'FA Overture\' has since become the player\'s walk-on anthem for all major FA games.\r\n\r\nMaltby\'s latest theatrical show \'DrumChasers\' toured the UK in 2011 with narration by Stephen Fry and received many favourable reviews. He is currently back working on his new musical \'Apparition Smith\' before starting pre-production on the score for Jesús Monllaó\'s debut feature film \'Fill De Cain\'.','About','','inherit','closed','open','','25-revision-13','','','2012-02-04 21:23:49','2012-02-04 21:23:49','',25,'http://www.ethanlewismaltby.com/Home/25-revision-13/',0,'revision','',0),(295,1,'2012-02-04 21:24:31','2012-02-04 21:24:31','\"\"\r\n\r\n

Ethan Lewis Maltby is a British composer based in Canterbury, Kent. He writes music for TV, Theatre, Cinema and the Concert Hall.

\r\n\r\n

Maltby has scored many films and animations covering many different genres. He has collaborated with Spanish filmmaker Jesús Monllaó on several projects, scoring the award winning \'La Mirada Oblique\', \'Gloria\', and \'The Legacy\', and also with animator Kam-Li Cheng on her stunning animations, \'The Highwayman\' and \'Avatara\'. In late 2006, Maltby scored \'Waste Man\', the Channel 4 documentary on artist Antony Gormley and his sculpture. In theatre, Maltby composed the soundtrack for the first British virtual reality stage play, \'A Midsummer Night\'s Dream\', the score for Hungarian play \'Bloodletting\' and several musicals including \'Courtenay\' (with lyricist Christopher Neame).

\r\n\r\n

In 2004 Maltby created, composed and directed \'Noise Ensemble\', a percussion show which has been touring since 2006. This spectacular show has played extensively in UK theatres and venues including The South Bank Centre, Wembley Stadium and on TV\'s Blue Peter. It has also toured Russia, Belgium, Holland, South Korea, Switzerland, Norway and Cyprus. He also composed the score for the 2008 and 2009 FA Cup Final Opening Ceremonies – his track \'FA Overture\' has since become the player\'s walk-on anthem for all major FA games.

\r\n\r\n

Maltby\'s latest theatrical show \'DrumChasers\' toured the UK in 2011 with narration by Stephen Fry and received many favourable reviews. He is currently back working on his new musical \'Apparition Smith\' before starting pre-production on the score for Jesús Monllaó\'s debut feature film \'Fill De Cain\'.

','About','','inherit','closed','open','','25-revision-14','','','2012-02-04 21:24:31','2012-02-04 21:24:31','',25,'http://www.ethanlewismaltby.com/Home/25-revision-14/',0,'revision','',0),(296,1,'2012-02-04 21:29:07','2012-02-04 21:29:07','\"\"\r\n\r\n

Ethan Lewis Maltby is a British composer based in Canterbury, Kent. He writes music for TV, Theatre, Cinema and the Concert Hall.

\r\n\r\n

Maltby has scored many films and animations covering many different genres. He has collaborated with Spanish filmmaker Jesús Monllaó on several projects, scoring the award winning \'La Mirada Oblique\', \'Gloria\', and \'The Legacy\', and also with animator Kam-Li Cheng on her stunning animations, \'The Highwayman\' and \'Avatara\'. In late 2006, Maltby scored \'Waste Man\', the Channel 4 documentary on artist Antony Gormley and his sculpture. In theatre, Maltby composed the soundtrack for the first British virtual reality stage play, \'A Midsummer Night\'s Dream\', the score for Hungarian play \'Bloodletting\' and several musicals including \'Courtenay\' (with lyricist Christopher Neame).

\r\n\r\n

In 2004 Maltby created, composed and directed \'Noise Ensemble\', a percussion show which has been touring since 2006. This spectacular show has played extensively in UK theatres and venues including The South Bank Centre, Wembley Stadium and on TV\'s Blue Peter. It has also toured Russia, Belgium, Holland, South Korea, Switzerland, Norway and Cyprus. He also composed the score for the 2008 and 2009 FA Cup Final Opening Ceremonies – his track \'FA Overture\' has since become the player\'s walk-on anthem for all major FA games.

\r\n\r\n

Maltby\'s latest theatrical show \'DrumChasers\' toured the UK in 2011 with narration by Stephen Fry and received many favourable reviews. He is currently back working on his new musical \'Apparition Smith\' before starting pre-production on the score for Jesús Monllaó\'s debut feature film \'Fill De Cain\'.

','About','','inherit','closed','open','','25-revision-15','','','2012-02-04 21:29:07','2012-02-04 21:29:07','',25,'http://www.ethanlewismaltby.com/Home/25-revision-15/',0,'revision','',0),(297,1,'2012-02-04 21:31:09','2012-02-04 21:31:09','\"\"\r\n\r\n

Ethan Lewis Maltby is a British composer based in Canterbury, Kent. He writes music for TV, Theatre, Cinema and the Concert Hall.

\r\n\r\n

Maltby has scored many films and animations covering many different genres. He has collaborated with Spanish filmmaker Jesús Monllaó on several projects, scoring the award winning \'La Mirada Oblique\', \'Gloria\', and \'The Legacy\', and also with animator Kam-Li Cheng on her stunning animations, \'The Highwayman\' and \'Avatara\'. In late 2006, Maltby scored \'Waste Man\', the Channel 4 documentary on artist Antony Gormley and his sculpture. In theatre, Maltby composed the soundtrack for the first British virtual reality stage play, \'A Midsummer Night\'s Dream\', the score for Hungarian play \'Bloodletting\' and several musicals including \'Courtenay\' (with lyricist Christopher Neame).

\r\n\r\n

In 2004 Maltby created, composed and directed \'Noise Ensemble\', a percussion show which has been touring since 2006. This spectacular show has played extensively in UK theatres and venues including The South Bank Centre, Wembley Stadium and on TV\'s Blue Peter. It has also toured Russia, Belgium, Holland, South Korea, Switzerland, Norway and Cyprus. He also composed the score for the 2008 and 2009 FA Cup Final Opening Ceremonies – his track \'FA Overture\' has since become the player\'s walk-on anthem for all major FA games.

\r\n\r\n

Maltby\'s latest theatrical show \'DrumChasers\' toured the UK in 2011 with narration by Stephen Fry and received many favourable reviews. He is currently back working on his new musical \'Apparition Smith\' before starting pre-production on the score for Jesús Monllaó\'s debut feature film \'Fill De Cain\'.

','About','','inherit','closed','open','','25-revision-16','','','2012-02-04 21:31:09','2012-02-04 21:31:09','',25,'http://www.ethanlewismaltby.com/Home/25-revision-16/',0,'revision','',0),(298,1,'2012-02-04 21:31:56','2012-02-04 21:31:56','\"\"\r\n\r\n

Ethan Lewis Maltby is a British composer based in Canterbury, Kent. He writes music for TV, Theatre, Cinema and the Concert Hall.

\r\n\r\n

Maltby has scored many films and animations covering many different genres. He has collaborated with Spanish filmmaker Jesús Monllaó on several projects, scoring the award winning \'La Mirada Oblique\', \'Gloria\', and \'The Legacy\', and also with animator Kam-Li Cheng on her stunning animations, \'The Highwayman\' and \'Avatara\'. In late 2006, Maltby scored \'Waste Man\', the Channel 4 documentary on artist Antony Gormley and his sculpture. In theatre, Maltby composed the soundtrack for the first British virtual reality stage play, \'A Midsummer Night\'s Dream\', the score for Hungarian play \'Bloodletting\' and several musicals including \'Courtenay\' (with lyricist Christopher Neame).

\r\n\r\n

In 2004 Maltby created, composed and directed \'Noise Ensemble\', a percussion show which has been touring since 2006. This spectacular show has played extensively in UK theatres and venues including The South Bank Centre, Wembley Stadium and on TV\'s Blue Peter. It has also toured Russia, Belgium, Holland, South Korea, Switzerland, Norway and Cyprus. He also composed the score for the 2008 and 2009 FA Cup Final Opening Ceremonies – his track \'FA Overture\' has since become the player\'s walk-on anthem for all major FA games.

\r\n\r\n

Maltby\'s latest theatrical show \'DrumChasers\' toured the UK in 2011 with narration by Stephen Fry and received many favourable reviews. He is currently back working on his new musical \'Apparition Smith\' before starting pre-production on the score for Jesús Monllaó\'s debut feature film \'Fill De Cain\'.

','About','','inherit','closed','open','','25-revision-17','','','2012-02-04 21:31:56','2012-02-04 21:31:56','',25,'http://www.ethanlewismaltby.com/Home/25-revision-17/',0,'revision','',0),(299,1,'2012-02-05 14:35:24','2012-02-05 14:35:24','\"\"\r\n

Ethan Lewis Maltby is a British composer based in Canterbury, Kent. He writes music for TV, Theatre, Cinema and the Concert Hall.

\r\n

Maltby has scored many films and animations covering many different genres. He has collaborated with Spanish filmmaker Jesús Monllaó on several projects, scoring the award winning \'La Mirada Oblique\', \'Gloria\', and \'The Legacy\', and also with animator Kam-Li Cheng on her stunning animations, \'The Highwayman\' and \'Avatara\'. In late 2006, Maltby scored \'Waste Man\', the Channel 4 documentary on artist Antony Gormley and his sculpture. In theatre, Maltby composed the soundtrack for the first British virtual reality stage play, \'A Midsummer Night\'s Dream\', the score for Hungarian play \'Bloodletting\' and several musicals including \'Courtenay\' (with lyricist Christopher Neame).

\r\n

In 2004 Maltby created, composed and directed \'Noise Ensemble\', a percussion show which has been touring since 2006. This spectacular show has played extensively in UK theatres and venues including The South Bank Centre, Wembley Stadium and on TV\'s Blue Peter. It has also toured Russia, Belgium, Holland, South Korea, Switzerland, Norway and Cyprus. He also composed the score for the 2008 and 2009 FA Cup Final Opening Ceremonies – his track \'FA Overture\' has since become the player\'s walk-on anthem for all major FA games.

\r\n

Maltby\'s latest theatrical show \'DrumChasers\' toured theatres throughout the UK in 2011 with narration by Stephen Fry and received many favourable reviews. He then finished the year by scoring The Brook Theatre\'s Christmas show, \'Snowy The Fox\'.

\r\n

Maltby is currently scoring Jesús Monllaó\'s debut feature film \'Fill De Cain\'.

','About','','inherit','closed','open','','25-revision-18','','','2012-02-05 14:35:24','2012-02-05 14:35:24','',25,'http://www.ethanlewismaltby.com/Home/25-revision-18/',0,'revision','',0),(300,1,'2012-02-05 14:39:13','2012-02-05 14:39:13','\"\"\r\n

Ethan Lewis Maltby is a British composer based in Canterbury, Kent. He writes music for TV, Theatre, Cinema and the Concert Hall.

\r\n

Maltby has scored many films and animations covering many different genres. He has collaborated with Spanish filmmaker Jesús Monllaó on several projects, scoring the award winning \'La Mirada Oblique\', \'Gloria\', and \'The Legacy\', and also with animator Kam-Li Cheng on her stunning animations, \'The Highwayman\' and \'Avatara\'. In late 2006, Maltby scored \'Waste Man\', the Channel 4 documentary on artist Antony Gormley and his sculpture. In theatre, Maltby composed the soundtrack for the first British virtual reality stage play, \'A Midsummer Night\'s Dream\', the score for Hungarian play \'Bloodletting\' and several musicals including \'Courtenay\' (with lyricist Christopher Neame).

\r\n

In 2004 Maltby created, composed and directed \'Noise Ensemble\', a percussion show which has been touring since 2006. This spectacular show has played extensively in UK theatres and venues including The South Bank Centre, Wembley Stadium and on TV\'s Blue Peter. It has also toured Russia, Belgium, Holland, South Korea, Switzerland, Norway and Cyprus. He also composed the score for the 2008 and 2009 FA Cup Final Opening Ceremonies – his track \'FA Overture\' has since become the player\'s walk-on anthem for all major FA games.

\r\n

Maltby\'s latest theatrical show \'DrumChasers\' toured theatres throughout the UK in 2011 with narration by Stephen Fry and received many favourable reviews. He then finished the year by scoring The Brook Theatre\'s Christmas show, \'Snowy The Fox\'.

\r\n

Maltby is currently scoring Jesús Monllaó\'s debut feature film \'Fill De Cain\'.

','About','','inherit','closed','open','','25-revision-19','','','2012-02-05 14:39:13','2012-02-05 14:39:13','',25,'http://www.ethanlewismaltby.com/Home/25-revision-19/',0,'revision','',0),(301,1,'2012-02-05 14:40:53','2012-02-05 14:40:53','\"\"\r\n

Ethan Lewis Maltby is a British composer based in Canterbury, Kent. He writes music for TV, Theatre, Cinema and the Concert Hall.

\r\n

Maltby has scored many films and animations covering many different genres. He has collaborated with Spanish filmmaker Jesús Monllaó on several projects, scoring the award winning \'La Mirada Oblique\', \'Gloria\', and \'The Legacy\', and also with animator Kam-Li Cheng on her stunning animations, \'The Highwayman\' and \'Avatara\'. In late 2006, Maltby scored \'Waste Man\', the Channel 4 documentary on artist Antony Gormley and his sculpture. In theatre, Maltby composed the soundtrack for the first British virtual reality stage play, \'A Midsummer Night\'s Dream\', the score for Hungarian play \'Bloodletting\' and several musicals including \'Courtenay\' (with lyricist Christopher Neame).

\r\n

In 2004 Maltby created, composed and directed \'Noise Ensemble\', a percussion show which has been touring since 2006. This spectacular show has played extensively in UK theatres and venues including The South Bank Centre, Wembley Stadium and on TV\'s Blue Peter. It has also toured Russia, Belgium, Holland, South Korea, Switzerland, Norway and Cyprus. He also composed the score for the 2008 and 2009 FA Cup Final Opening Ceremonies – his track \'FA Overture\' has since become the player\'s walk-on anthem for all major FA games.

\r\n

Maltby\'s latest theatrical show \'DrumChasers\' toured theatres throughout the UK in 2011 with narration by Stephen Fry and received many favourable reviews. He then finished the year by scoring The Brook Theatre\'s Christmas show, \'Snowy The Fox\'.

\r\n

Maltby is currently scoring Jesús Monllaó\'s debut feature film \'Fill De Cain\'.

','About','','inherit','closed','open','','25-revision-20','','','2012-02-05 14:40:53','2012-02-05 14:40:53','',25,'http://www.ethanlewismaltby.com/Home/25-revision-20/',0,'revision','',0),(302,1,'2012-01-23 20:28:56','2012-01-23 20:28:56','Long after the smoke has drifted from the battlefield, audiences will remember Courtenay.\r\n\r\nThis musical plucked from the Kentish history books - and fashioned into a sophisticated entertainment by a composer and lyricist relatively new to the genre – deserves its place on a wider stage.\r\n\r\nBy turns exciting and tender, thought-provoking and uplifting, Courtenay is set around 20 years after the Peterloo massacre and looks behind the curious story of the last battle to be fought on English soil and makes a cracking, three-dimensional show of it. Composer, orchestrator and musical director, Ethan Lewis Maltby, not yet 30 but nevertheless a self-confessed fan of the swashbuckling era, has sewn a rich seam of interwoven themes throughout the two acts. His music hits spot.\r\n\r\nWhile paying plentiful homage to his first musical love, percussion, the score has pace, vitality and, dare I say it, hummability and while that may not be fashionable it certainly helps to convince ticket-buyers that they have had their money’s worth. See a show and take a tune away with you is no bad slogan even for a modern musical.\r\n\r\nEach of the central characters in Courtenay has a haunting theme of his or her own which blend to great effect at moments of tenderness, for this show is not all about dreams of the 19th century working man finding his true worth under the sleety, unforgiving gaze of establishment figures.\r\n\r\nLyricist Christopher Neame has taken a complex subject and given a perspective to Courtenay\'s story that many historians have discarded in favour of a simplistic view that the protagonist was mad and all his followers simple. The lyrics, particularly those given to Courtenay are intelligent without being polemical.\r\n\r\nAt the opening at Canterbury’s Marlowe Theatre on Thursday it was hard to find any chinks in this emotive story of one man\'s slide from visionary enthusiasm to self-delusion and destruction. There were some technical problems, chiefly with the sound balance, but the principals and ensemble worked together to produce a first night to be proud of.\r\n\r\nThe show is fortunate in having a trio of voices at the top that would match the best the West End has to offer. Loren Geeting as Courtenay, Renée Salewski as the object of his desire, Sarah Culver and David Wyatt as Nicholas Mears, the lover cast aside by Culver for Courtenay’s more dazzling attractions, are a class act. Wyatt has a voice that we will hear again and again if the scouts are doing their job and Geeting and Salewski both live up to their credentials.\r\n\r\nLindsey Mack as the Canterbury Marshal, Captain Townsend, cuts a dash darkly as the man who is out to thwart Courtenay\'s egalitarian ambitions. His presence is like that of a sinister crow. Antonia Bond generates tenderness as the wife Courtenay left behind, struggling to understand her husband’s wild side and Anthony Garner provides a solid presence as the narrator Everyman who guides the audience, many of whom will be unfamiliar with the story, carefully and unobtrusively.\r\n\r\nSet design is also instrumental to the success of this show. Veteran film and TV designer Roy Stannard, a newcomer to the theatre whose credits include David Lean\'s Lawrence of Arabia, has produced a simple, yet effective raked platform in which most of the action is concentrated, focusing the attention perfectly.\r\n\r\nAll this is overseen by a reaper, a simple agricultural machine seen as the means by which the landowner will emasculate the labourer.\r\n\r\nAs the show opens, the machine, cast as the grim reaper, dominates a stark scene as the countrysiders who will come to follow Courtenay, scrape a living from the soil while sinister clouds drift across the landscape. The climate of fear is brought home by blood-red effects schemed by Ben M Rogers, a lighting designer with many West End and international credits to his name, whose skills help to create Courtenay\'s many memorable moods.\r\n\r\nThis homespun show is something Kent can be proud of and one that audiences anywhere would appreciate. Surely local history was never this alive, or so worthy of the standing ovation it got on Thursday.\r\n\r\nRussell Flint','Kent on Sunday','\"While paying plentiful homage to his first musical love, percussion, the score has pace, vitality and, dare I say it, hummability...\"','inherit','closed','open','','225-revision-2','','','2012-01-23 20:28:56','2012-01-23 20:28:56','',225,'http://www.ethanlewismaltby.com/Home/225-revision-2/',0,'revision','',0),(304,1,'2012-01-23 20:26:06','2012-01-23 20:26:06','Touring two prominent south east theatres and focusing on Kent\'s heritage creates a sense of identity for local audiences. However, its appeal would undoubtedly attract a wider audience should Bright Start Productions, in association with the Stag Theatre, Sevenoaks, choose to lengthen their tour. The plot reveals the impulsive Sir William Courtenay, revolutionary and suspected madman. With the energetic strains of Les Miserables, the large cast is headed by Loren Geeting in the title role. It is no surprise Geeting has won awards for his voice as he commands centre stage in both voice and stature. With a Macheath-like charm, Courtenay seduces local protester Sarah Culver (Renée Salewski) though the relationship does not lessen the action. Salewski appears childlike yet her voice reveals a maturity and control demanded of a lead role. Supporting character Katherine Tom (Antonia Bond), Courtenay\'s forgotten wife, appears fleetingly yet captures the sense of the wronged party. Sarah\'s sweetheart Nicholas Mears, played by David Wyatt, is well cast as tragically young and impulsive. Although the scenes seemed more like montages, Christopher Neame\'s script is a good balance of action and romance. George Roman directs and Ethan Lewis Maltby\'s score is beautifully written. This musical sees some spectacular conflict scenes thanks to Paul Romang\'s fight arrangement and the East Kent Living History and Re-Enactment Unit, in full uniform and firing as though their lives really did depend upon it.','The Stage','\"Ethan Lewis Maltby\'s score is beautifully written.\"','inherit','closed','open','','188-revision-7','','','2012-01-23 20:26:06','2012-01-23 20:26:06','',188,'http://www.ethanlewismaltby.com/Home/188-revision-7/',0,'revision','',0),(303,1,'2012-02-06 14:02:00','2012-02-06 14:02:00','Long after the smoke has drifted from the battlefield, audiences will remember Courtenay.\r\n\r\nThis musical plucked from the Kentish history books - and fashioned into a sophisticated entertainment by a composer and lyricist relatively new to the genre – deserves its place on a wider stage.\r\n\r\nBy turns exciting and tender, thought-provoking and uplifting, Courtenay is set around 20 years after the Peterloo massacre and looks behind the curious story of the last battle to be fought on English soil and makes a cracking, three-dimensional show of it. Composer, orchestrator and musical director, Ethan Lewis Maltby, not yet 30 but nevertheless a self-confessed fan of the swashbuckling era, has sewn a rich seam of interwoven themes throughout the two acts. His music hits spot.\r\n\r\nWhile paying plentiful homage to his first musical love, percussion, the score has pace, vitality and, dare I say it, hummability and while that may not be fashionable it certainly helps to convince ticket-buyers that they have had their money’s worth. See a show and take a tune away with you is no bad slogan even for a modern musical.\r\n\r\nEach of the central characters in Courtenay has a haunting theme of his or her own which blend to great effect at moments of tenderness, for this show is not all about dreams of the 19th century working man finding his true worth under the sleety, unforgiving gaze of establishment figures.\r\n\r\nLyricist Christopher Neame has taken a complex subject and given a perspective to Courtenay\'s story that many historians have discarded in favour of a simplistic view that the protagonist was mad and all his followers simple. The lyrics, particularly those given to Courtenay are intelligent without being polemical.\r\n\r\nAt the opening at Canterbury’s Marlowe Theatre on Thursday it was hard to find any chinks in this emotive story of one man\'s slide from visionary enthusiasm to self-delusion and destruction. There were some technical problems, chiefly with the sound balance, but the principals and ensemble worked together to produce a first night to be proud of.\r\n\r\nThe show is fortunate in having a trio of voices at the top that would match the best the West End has to offer. Loren Geeting as Courtenay, Renée Salewski as the object of his desire, Sarah Culver and David Wyatt as Nicholas Mears, the lover cast aside by Culver for Courtenay’s more dazzling attractions, are a class act. Wyatt has a voice that we will hear again and again if the scouts are doing their job and Geeting and Salewski both live up to their credentials.\r\n\r\nLindsey Mack as the Canterbury Marshal, Captain Townsend, cuts a dash darkly as the man who is out to thwart Courtenay\'s egalitarian ambitions. His presence is like that of a sinister crow. Antonia Bond generates tenderness as the wife Courtenay left behind, struggling to understand her husband’s wild side and Anthony Garner provides a solid presence as the narrator Everyman who guides the audience, many of whom will be unfamiliar with the story, carefully and unobtrusively.\r\n\r\nSet design is also instrumental to the success of this show. Veteran film and TV designer Roy Stannard, a newcomer to the theatre whose credits include David Lean\'s Lawrence of Arabia, has produced a simple, yet effective raked platform in which most of the action is concentrated, focusing the attention perfectly.\r\n\r\nAll this is overseen by a reaper, a simple agricultural machine seen as the means by which the landowner will emasculate the labourer.\r\n\r\nAs the show opens, the machine, cast as the grim reaper, dominates a stark scene as the countrysiders who will come to follow Courtenay, scrape a living from the soil while sinister clouds drift across the landscape. The climate of fear is brought home by blood-red effects schemed by Ben M Rogers, a lighting designer with many West End and international credits to his name, whose skills help to create Courtenay\'s many memorable moods.\r\n\r\nThis homespun show is something Kent can be proud of and one that audiences anywhere would appreciate. Surely local history was never this alive, or so worthy of the standing ovation it got on Thursday.\r\n\r\nRussell Flint','Kent on Sunday','\"By turns exciting and tender, thought-provoking and uplifting, Courtenay is set around 20 years after the Peterloo massacre and looks behind the curious story of the last battle to be fought on English soil and makes a cracking, three-dimensional show of it. Composer, orchestrator and musical director, Ethan Lewis Maltby, not yet 30 but nevertheless a self-confessed fan of the swashbuckling era, has sewn a rich seam of interwoven themes throughout the two acts. His music hits spot.\r\n\r\nWhile paying plentiful homage to his first musical love, percussion, the score has pace, vitality and, dare I say it, hummability and while that may not be fashionable it certainly helps to convince ticket-buyers that they have had their money’s worth. See a show and take a tune away with you is no bad slogan even for a modern musical.\"','inherit','closed','open','','225-revision-3','','','2012-02-06 14:02:00','2012-02-06 14:02:00','',225,'http://www.ethanlewismaltby.com/Home/225-revision-3/',0,'revision','',0),(305,1,'2012-01-23 20:21:18','2012-01-23 20:21:18','Review by Peter Lathan (2011)\r\n\r\nThe advertising for DrumChasers promises \"an evening quite unlike anything you’ve seen before.\" It is, we are told, \"a musical without words, but with drums.\"\r\n\r\n \r\n\r\nIt\'s a percussion show, from drum kit to triangle, from gong to xylophone. A cast of eleven (plus voice-over by Stephen Fry) play their carefully and tightly choreographed way through a variant on the Romeo and Juliet story set in a parallel world, Noiseland, which somehow bursts into our world in an old concert hall where caretaker Mr Bennett, played by Jack Warner, looks after the instruments stored there. He is to be the instrument (pun intended) which solves Noiseland\'s age-old problems and bringing back peace.\r\n\r\n \r\n\r\nAnd that\'s not a spoiler: it\'s in the advertising!\r\n\r\n \r\n\r\nThis could be the recipe for something cringingly self-indugent, and that feeling was exacerbated by the fact that, because I arrived early and was on my own for this show, I read the programme before it started. There, on the first inside page, was an introduction, written in verse which could have been penned by that master of the appalling rhyme, William McGonagall. My heart sank!\r\n\r\n \r\n\r\n(Those who don\'t know McGonagall really should look at McGonagall Online and marvel!)\r\n\r\n \r\n\r\nIf I say that, about a third of the way through the first act, these words are spoken by Stephen Fry, you will realise - as I did at that moment - that this is not a show that takes itself too seriously. Indeed, it is shot through with self-deprecating humour, subverting any expectation that we are going to get a tragedy - or even a melodrama. And it gets that balance between humour and the seriousness required to interest us in the story exactly right.\r\n\r\n \r\n\r\nWhat DrumChasers actually is is very entertaining, even for those who are not particularly interested in percussion. The skill, talent and commitment of the performers are amazing and the lighting - inevitably very rock concert influenced - impressive. The movement of the instruments on, off and around the stage (by the cast) is smooth and quick and the costumes and make-up were close to but not exactly of this world, nicely contrasted with Mr Bennett\'s brown coat and flat cap. I did wonder if the sticks which the Noise Wrangler uses to control her people were meant to remind us of Jedi light sabres. They certainly did me.\r\n\r\n \r\n\r\nBut it is the performances which will stick in the memory. There was a number (I can\'t think of any other word) in which two opposing faction members fought each other, circling back and forth round two xylophones placed centrestage and never missing a note or even for a second losing their confrontational body language and expressions. And a comic highlight was a duel between two triangle playing cast members.\r\n\r\n \r\n\r\nGreat fun!','Great British Theatre','\"Very entertaining...\"','inherit','closed','open','','184-revision-3','','','2012-01-23 20:21:18','2012-01-23 20:21:18','',184,'http://www.ethanlewismaltby.com/Home/184-revision-3/',0,'revision','',0),(443,1,'2012-01-23 20:23:07','2012-01-23 20:23:07','It is not very often that one gets to see a world premiere, especially a world premiere in Blackpool, so we were delighted to be able to go and see the first ever performance of the new percussion based musical DrumChasers at the Blackpool Grand Theatre. Having not seen the previous “Noise Ensemble” we really did not know what to expect and went along with completely open minds. Think Ultravox (John Foxx version) do Coppelia, Doctor Who does West Side story and the Terminator meets Les Mis and you’re part way there.\r\n\r\n \r\n\r\nOddly enough, the caretaker - Mr Bennett - who starts off looking like a bedraggled Blakey out of “On The Buses” -ends up the hero in this tale of factions of warring musicians from another world, which is delightfully narrated by an absently bodied Stephen Fry. Apart from Fry’s outlining of the story, there are no words at all – no dialogue, no singing, more akin to a ballet in fact, relying purely on expressive dance routines and plenty of percussion as the story is told through a succession of musical numbers of varying dramatic gravitas. But this is not just two hours of mindless heavy drumming by any means. In a well balanced score that could easily grace a Hollywood sci fi blockbuster, we have a drummers duel, a piece played solely on the triangle and a romantic glockenspiel moment . There are several enchanting xylophone melodies – bringing to mind dreamy images of tropical rain forests or trickling streams or wherever your own thoughts might take you, carried off by the music.\r\n\r\n \r\n\r\nAwesome! Spellbinding! Magical! DrumChasers puts you in touch with the primitive being inside you, and in two of the numbers the audience were invited to join in. We loved every minute – from start to finish a fantastic fairytale. Marvellous choreography – the grim set and the war scenes were reminiscent of Les Miserables. Superb performances from talented and versatile musicians/dancers. If only we could somehow learn to harness the energy generated by the dynamic performers on the set of DrumChasers we could indeed save the world from nuclear meltdown. This is not mainstream theatre by any means but all the same absolutely unmissable. Please go and see it.','Best Kept Secrets','Awesome! Spellbinding! Magical!...There are several enchanting xylophone melodies – bringing to mind dreamy images of tropical rain forests or trickling streams or wherever your own thoughts might take you, carried off by the music.','inherit','closed','open','','186-revision-3','','','2012-01-23 20:23:07','2012-01-23 20:23:07','',186,'http://www.ethanlewismaltby.com/Home/186-revision-3/',0,'revision','',0),(308,1,'2012-02-06 12:33:57','2012-02-06 12:33:57','\"\"\r\n

Ethan Lewis Maltby is a British composer based in Canterbury, Kent. He writes music for TV, Theatre, Cinema and the Concert Hall.

\r\n

Maltby has scored many films and animations covering many different genres. He has collaborated with Spanish filmmaker Jesús Monllaó on several projects, scoring the award winning \'La Mirada Oblique\', \'Gloria\', and \'The Legacy\', and also with animator Kam-Li Cheng on her stunning animations, \'The Highwayman\' and \'Avatara\'. In late 2006, Maltby scored \'Waste Man\', the Channel 4 documentary on artist Antony Gormley and his sculpture. In theatre, Maltby composed the soundtrack for the first British virtual reality stage play, \'A Midsummer Night\'s Dream\', the score for Hungarian play \'Bloodletting\' and several musicals including \'Courtenay\' (with lyricist Christopher Neame).

\r\n

In 2004 Maltby created, composed and directed \'Noise Ensemble\', a percussion show which has been touring since 2006. This spectacular show has played extensively in UK theatres and venues including The South Bank Centre, Wembley Stadium and on TV\'s Blue Peter. It has also toured Russia, Belgium, Holland, South Korea, Switzerland, Norway and Cyprus. He also composed the score for the 2008 and 2009 FA Cup Final Opening Ceremonies – his track \'FA Overture\' has since become the players walk-on anthem for all major FA games.

\r\n

Maltby\'s latest theatrical show \'DrumChasers\' toured theatres throughout the UK in 2011 with narration by Stephen Fry and received rave reviews. He then finished the year by scoring The Brook Theatre\'s Christmas show, \'Snowy The Fox\'.

\r\n

Maltby is currently scoring Jesús Monllaó\'s debut feature film \'Fill De Cain\'.

','About','','inherit','closed','open','','25-revision-21','','','2012-02-06 12:33:57','2012-02-06 12:33:57','',25,'http://www.ethanlewismaltby.com/Home/25-revision-21/',0,'revision','',0),(309,1,'2012-02-03 22:37:53','2012-02-03 22:37:53','[gravityform id=1 title=false description=true ajax=true]','Contact','','inherit','closed','open','','29-revision-26','','','2012-02-03 22:37:53','2012-02-03 22:37:53','',29,'http://www.ethanlewismaltby.com/Home/29-revision-26/',0,'revision','',0),(375,1,'2012-02-21 15:41:47','2012-02-21 15:41:47','\"\"\r\n

Ethan Lewis Maltby is a British composer based in Canterbury, Kent. He writes music for TV, Theatre, Cinema and the Concert Hall.

\r\n

Maltby has scored many films and animations covering many different genres. He has collaborated with Spanish filmmaker Jesús Monllaó on several projects, scoring the award winning \'La Mirada Oblique\', \'Gloria\', and \'The Legacy\', and also with animator Kam-Li Cheng on her stunning animations, \'The Highwayman\' and \'Avatara\'. In late 2006, Maltby scored \'Waste Man\', the Channel 4 documentary on artist Antony Gormley and his sculpture. In theatre, Maltby composed the soundtrack for the first British virtual reality stage play, \'A Midsummer Night\'s Dream\', the score for Hungarian play \'Bloodletting\' and several musicals including \'Courtenay\' (with lyricist Christopher Neame).

\r\n

In 2004 Maltby created, composed and directed \'Noise Ensemble\', a percussion show which has been touring since 2006. This spectacular show has played extensively in UK theatres and venues including The South Bank Centre, Wembley Stadium and on TV\'s Blue Peter. It has also toured Russia, Belgium, Holland, South Korea, Switzerland, Norway and Cyprus. He also composed the score for the 2008 and 2009 FA Cup Final Opening Ceremonies – his track \'FA Overture\' has since become the players walk-on anthem for all major FA games.

\r\n

Maltby\'s latest theatrical show \'DrumChasers\' toured theatres throughout the UK in 2011 with narration by Stephen Fry and received rave reviews. He then finished the year by scoring The Brook Theatre\'s Christmas show, \'Snowy The Fox\'.

\r\n

Maltby is currently scoring Jesús Monllaó\'s debut feature film \'Fill De Cain\'.

','About','','inherit','closed','open','','25-revision-22','','','2012-02-21 15:41:47','2012-02-21 15:41:47','',25,'http://www.ethanlewismaltby.com/Home/25-revision-22/',0,'revision','',0),(486,1,'2012-02-21 16:11:14','2012-02-21 16:11:14','\"\"\r\n

Ethan Lewis Maltby is a British composer based in Canterbury, Kent. He writes music for TV, Theatre, Cinema and the Concert Hall.

\r\n

Maltby has scored many films and animations covering many different genres. He has collaborated with Spanish filmmaker Jesús Monllaó on several projects, scoring the award winning \'La Mirada Oblique\', \'Gloria\', and \'The Legacy\', and also with animator Kam-Li Cheng on her stunning animations, \'The Highwayman\' and \'Avatara\'. In late 2006, Maltby scored \'Waste Man\', the Channel 4 documentary on artist Antony Gormley and his sculpture. In theatre, Maltby composed the soundtrack for the first British virtual reality stage play, \'A Midsummer Night\'s Dream\', the score for Hungarian play \'Bloodletting\' and several musicals including \'Courtenay\' (with lyricist Christopher Neame).

\r\n

In 2004 Maltby created, composed and directed \'Noise Ensemble\', a percussion show which has been touring since 2006. This spectacular show has played extensively in UK theatres and venues including The South Bank Centre, Wembley Stadium and on TV\'s Blue Peter. It has also toured Russia, Belgium, Holland, South Korea, Switzerland, Norway and Cyprus. He also composed the score for the 2008 and 2009 FA Cup Final Opening Ceremonies – his track \'FA Overture\' has since become the players walk-on anthem for all major FA games.

\r\n

Maltby\'s latest theatrical show \'DrumChasers\' toured theatres throughout the UK in 2011 with narration by Stephen Fry and received rave reviews. He then finished the year by scoring The Brook Theatre\'s Christmas show, \'Snowy The Fox\'.

\r\n

Maltby is currently scoring Jesús Monllaó\'s debut feature film \'Fill De Cain\'.

','About','','inherit','closed','open','','25-revision-23','','','2012-02-21 16:11:14','2012-02-21 16:11:14','',25,'http://www.ethanlewismaltby.com/Home/25-revision-23/',0,'revision','',0),(487,1,'2012-06-19 23:33:35','2012-06-19 23:33:35','\"\"\r\n

Ethan Lewis Maltby is a British composer based in Canterbury, Kent. He writes music for TV, Theatre, Cinema and the Concert Hall.

\r\n

Maltby has scored many films and animations covering many different genres. He has collaborated with Spanish filmmaker Jesús Monllaó on several projects, scoring the award winning \'La Mirada Oblique\', \'Gloria\', and \'The Legacy\', and also with animator Kam-Li Cheng on her stunning animations, \'The Highwayman\' and \'Avatara\'. In late 2006, Maltby scored \'Waste Man\', the Channel 4 documentary on artist Antony Gormley and his sculpture. In theatre, Maltby composed the soundtrack for the first British virtual reality stage play, \'A Midsummer Night\'s Dream\', the score for Hungarian play \'Bloodletting\' and several musicals including \'Courtenay\' (with lyricist Christopher Neame).

\r\n

In 2004 Maltby created, composed and directed \'Noise Ensemble\', a percussion show which has been touring since 2006. This spectacular show has played extensively in UK theatres and venues including The South Bank Centre, Wembley Stadium and on TV\'s Blue Peter. It has also toured Russia, Belgium, Holland, South Korea, Switzerland, Norway and Cyprus. He also composed the score for the 2008 and 2009 FA Cup Final Opening Ceremonies – his track \'FA Overture\' has since become the players walk-on anthem for all major FA games.

\r\n

Maltby\'s latest theatrical show \'DrumChasers\' toured theatres throughout the UK in 2011 with narration by Stephen Fry and received rave reviews. He then finished the year by scoring The Brook Theatre\'s Christmas show, \'Snowy The Fox\'. Maltby recently finished scoring Jesús Monllaó\'s debut feature film \'Fill De Cain\' and the score for the national touring Dance Theatre piece \'Ignite\'.

','About','','inherit','closed','open','','25-revision-24','','','2012-06-19 23:33:35','2012-06-19 23:33:35','',25,'http://www.ethanlewismaltby.com/Home/25-revision-24/',0,'revision','',0),(488,1,'2012-06-19 23:34:14','2012-06-19 23:34:14','\"\"\r\n

Ethan Lewis Maltby is a British composer based in Canterbury, Kent. He writes music for TV, Theatre, Cinema and the Concert Hall.

\r\n

Maltby has scored many films and animations covering many different genres. He has collaborated with Spanish filmmaker Jesús Monllaó on several projects, scoring the award winning \'La Mirada Oblique\', \'Gloria\', and \'The Legacy\', and also with animator Kam-Li Cheng on her stunning animations, \'The Highwayman\' and \'Avatara\'. In late 2006, Maltby scored \'Waste Man\', the Channel 4 documentary on artist Antony Gormley and his sculpture. In theatre, Maltby composed the soundtrack for the first British virtual reality stage play, \'A Midsummer Night\'s Dream\', the score for Hungarian play \'Bloodletting\' and several musicals including \'Courtenay\' (with lyricist Christopher Neame).

\r\n

In 2004 Maltby created, composed and directed \'Noise Ensemble\', a percussion show which has been touring since 2006. This spectacular show has played extensively in UK theatres and venues including The South Bank Centre, Wembley Stadium and on TV\'s Blue Peter. It has also toured Russia, Belgium, Holland, South Korea, Switzerland, Norway and Cyprus. He also composed the score for the 2008 and 2009 FA Cup Final Opening Ceremonies – his track \'FA Overture\' has since become the players walk-on anthem for all major FA games.

\r\n

Maltby\'s latest theatrical show \'DrumChasers\' toured theatres throughout the UK in 2011 with narration by Stephen Fry and received rave reviews. He then finished the year by scoring The Brook Theatre\'s Christmas show, \'Snowy The Fox\'. Maltby recently finished scoring Jesús Monllaó\'s debut feature film \'Fill De Cain\' and the score for the national touring Dance Theatre piece \'Ignite\'.

','About','','inherit','closed','open','','25-revision-25','','','2012-06-19 23:34:14','2012-06-19 23:34:14','',25,'http://www.ethanlewismaltby.com/Home/25-revision-25/',0,'revision','',0),(317,1,'2010-07-05 20:17:25','2010-07-05 20:17:25','\"\"\r\n

Ethan Lewis Maltby is a British composer based in Canterbury, Kent. His music has been performed all over the world in cinemas, stadiums and theatres.

\r\n

To date, Maltby has scored many films and animations covering many different genres. He has collaborated with acclaimed Spanish filmmaker Jesús Monllaó on several projects, most recently scoring the multi award-winning feature film ‘Son Of Cain’. In theatre, Maltby has composed scores for ‘A Midsummer Night’s Dream’ (UKC), ‘Bloodletting’ (HCC), ‘Ignite’ (UK Tour), ‘Snowy The Fox’ (The Brook Theatre, Chatham) and several musicals including ‘Courtenay’ (UK Tour), \'The Sparkle Thief\' (Anselm Studios, Canterbury) and the upcoming ‘Apparition Smith’.

\r\n

In 2004 Maltby created, composed and directed ‘Noise Ensemble’, a percussion show which toured all over the world from 2006 - 2011. This spectacular show has played extensively in UK theatres and venues including The South Bank Centre, Wembley Stadium and on TV’s Blue Peter. He also composed the score for the 2008 and 2009 FA Cup Final Opening Ceremonies – his track ‘FA Overture’ has since become the players walk-on anthem for all major FA games.

\r\n

In 2011, Maltby’s latest theatrical show ‘DrumChasers’ toured UK theatres with narration by Stephen Fry, it received rave reviews. He is currently working on several theatrical projects including his new musical \'The Battle Of Boat\'.

\r\n

~

\r\nClients include: UEFA, FA, RBS, Microsoft, Nestle, Cineworld, Telenet, BP, The Venetian Hotel Macau, Wella, Shepherd Neame, Walls, Leeds Castle, KCC','About','','publish','open','open','','about-2-2','','','2015-01-12 01:22:43','2015-01-12 01:22:43','',0,'http://localhost/brankic1979.com/theme/CocoonWP/?page_id=5',3,'page','',0),(530,1,'2014-01-31 22:50:46','2014-01-31 22:50:46','\"\"\r\n

Ethan Lewis Maltby is a British composer based in Canterbury, Kent. His music has been performed all over the world in cinemas, stadiums and theatres.

\r\n

To date, Maltby has scored many films and animations covering many different genres. He has collaborated with acclaimed Spanish filmmaker Jesús Monllaó on several projects, most recently scoring the multi award-winning feature film ‘Son Of Cain’. In theatre, Maltby has composed scores for ‘A Midsummer Night’s Dream’ (UKC), ‘Bloodletting’ (HCC), ‘Ignite’ (UK Tour), ‘Snowy The Fox’ (The Brook Theatre, Chatham) and several musicals including ‘Courtenay’ (UK Tour) and the upcoming ‘Apparition Smith’.

\r\n

In 2004 Maltby created, composed and directed ‘Noise Ensemble’, a percussion show which toured all over the world from 2006 - 2011. This spectacular show has played extensively in UK theatres and venues including The South Bank Centre, Wembley Stadium and on TV’s Blue Peter. He also composed the score for the 2008 and 2009 FA Cup Final Opening Ceremonies – his track ‘FA Overture’ has since become the players walk-on anthem for all major FA games.

\r\n

In 2011, Maltby’s latest theatrical show ‘DrumChasers’ toured UK theatres with narration by Stephen Fry, it received rave reviews. He is currently in pre-production on British feature film ‘Marriage’ whilst continuing to develop various theatrical projects.

\r\n

~

\r\nClients include: UEFA, FA, RBS, Microsoft, Nestle, Cineworld, Telenet, BP, The Venetian Hotel Macau, Wella, Shepherd Neame, Walls, Leeds Castle, KCC','About','','inherit','closed','open','','317-revision-9','','','2014-01-31 22:50:46','2014-01-31 22:50:46','',317,'http://www.ethanlewismaltby.com/Home/317-revision-9/',0,'revision','',0),(518,1,'2014-01-31 22:44:20','2014-01-31 22:44:20','\"\"\r\n\r\nEthan Lewis Maltby is a British composer based inCanterbury,Kent. His music has been performed all over the world in cinemas, stadiums and theatres.\r\n\r\nTo date, Maltby has scored many films and animations covering many different genres. He has collaborated with acclaimed Spanish filmmaker Jesús Monllaó on several projects, most recently scoring the multi award-winning feature film ‘Son Of Cain’. In theatre, Maltby has composed scores for ‘A Midsummer Night’s Dream’ (UKC), ‘Bloodletting’ (HCC), ‘Ignite’ (UK Tour), ‘Snowy The Fox’ (The Brooke Theatre, Chatham) and several musicals including ‘Courtenay’ (UK Tour) and the upcoming ‘Apparition Smith’.\r\n\r\nIn 2004 Maltby created, composed and directed ‘Noise Ensemble’, a percussion show which toured all over the world from 2006 - 2011. This spectacular show has played extensively inUKtheatres and venues including The South Bank Centre, Wembley Stadium and on TV’s Blue Peter. He also composed the score for the 2008 and 2009 FA Cup Final Opening Ceremonies – his track ‘FA Overture’ has since become the players walk-on anthem for all major FA games.\r\n\r\nIn 2011, Maltby’s latest theatrical show ‘DrumChasers’ toured UK theatres with narration by Stephen Fry, it received rave reviews. He is currently in pre-production on British feature film ‘Marriage’ whilst continuing to develop various theatrical projects.\r\n\r\n~\r\n\r\nClients include: UEFA, FA, RBS, Microsoft, Nestle, Cineworld, Telenet, BP, The Venetian Hotel Macau, Wella, Shepherd Neame, Walls, LeedsCastle, KCC','About','','inherit','closed','open','','317-revision-7','','','2014-01-31 22:44:20','2014-01-31 22:44:20','',317,'http://www.ethanlewismaltby.com/Home/317-revision-7/',0,'revision','',0),(7,1,'2010-07-05 20:18:34','2010-07-05 20:18:34','
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Composer, orchestrator and musical director, Ethan Lewis Maltby, not yet 30 but nevertheless a self-confessed fan of the swashbuckling era, has sewn a rich seam of interwoven themes throughout the two acts. His music hits spot.\r\n\r\nWhile paying plentiful homage to his first musical love, percussion, the score has pace, vitality and, dare I say it, hummability and while that may not be fashionable it certainly helps to convince ticket-buyers that they have had their money’s worth. See a show and take a tune away with you is no bad slogan even for a modern musical.\r\n\r\nEach of the central characters in Courtenay has a haunting theme of his or her own which blend to great effect at moments of tenderness, for this show is not all about dreams of the 19th century working man finding his true worth under the sleety, unforgiving gaze of establishment figures.\r\n\r\nLyricist Christopher Neame has taken a complex subject and given a perspective to Courtenay\'s story that many historians have discarded in favour of a simplistic view that the protagonist was mad and all his followers simple. The lyrics, particularly those given to Courtenay are intelligent without being polemical.\r\n\r\nAt the opening at Canterbury’s Marlowe Theatre on Thursday it was hard to find any chinks in this emotive story of one man\'s slide from visionary enthusiasm to self-delusion and destruction. There were some technical problems, chiefly with the sound balance, but the principals and ensemble worked together to produce a first night to be proud of.\r\n\r\nThe show is fortunate in having a trio of voices at the top that would match the best the West End has to offer. Loren Geeting as Courtenay, Renée Salewski as the object of his desire, Sarah Culver and David Wyatt as Nicholas Mears, the lover cast aside by Culver for Courtenay’s more dazzling attractions, are a class act. Wyatt has a voice that we will hear again and again if the scouts are doing their job and Geeting and Salewski both live up to their credentials.\r\n\r\nLindsey Mack as the Canterbury Marshal, Captain Townsend, cuts a dash darkly as the man who is out to thwart Courtenay\'s egalitarian ambitions. His presence is like that of a sinister crow. Antonia Bond generates tenderness as the wife Courtenay left behind, struggling to understand her husband’s wild side and Anthony Garner provides a solid presence as the narrator Everyman who guides the audience, many of whom will be unfamiliar with the story, carefully and unobtrusively.\r\n\r\nSet design is also instrumental to the success of this show. Veteran film and TV designer Roy Stannard, a newcomer to the theatre whose credits include David Lean\'s Lawrence of Arabia, has produced a simple, yet effective raked platform in which most of the action is concentrated, focusing the attention perfectly.\r\n\r\nAll this is overseen by a reaper, a simple agricultural machine seen as the means by which the landowner will emasculate the labourer.\r\n\r\nAs the show opens, the machine, cast as the grim reaper, dominates a stark scene as the countrysiders who will come to follow Courtenay, scrape a living from the soil while sinister clouds drift across the landscape. The climate of fear is brought home by blood-red effects schemed by Ben M Rogers, a lighting designer with many West End and international credits to his name, whose skills help to create Courtenay\'s many memorable moods.\r\n\r\nThis homespun show is something Kent can be proud of and one that audiences anywhere would appreciate. Surely local history was never this alive, or so worthy of the standing ovation it got on Thursday.\r\n\r\nRussell Flint','Kent on Sunday','\"By turns exciting and tender, thought-provoking and uplifting, Courtenay is set around 20 years after the Peterloo massacre and looks behind the curious story of the last battle to be fought on English soil and makes a cracking, three-dimensional show of it. Composer, orchestrator and musical director, Ethan Lewis Maltby, not yet 30 but nevertheless a self-confessed fan of the swashbuckling era, has sewn a rich seam of interwoven themes throughout the two acts. 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Lorem ipsum dolor sit amet consectetur

\n\"\"Sed ut perspiciatis unde omnis iste natus error sit voluptatem accusantium doloremque laudantium, totam rem aperiam, eaque ipsa quae ab illo inventore veritatis et quasi architecto beatae vitae dicta sunt explicabo. Donec ut volutpat metus. Aliquam tortor lorem, fringilla tempor dignissim at, pretium et arcu. Sed ut perspiciatis unde omnis iste natus error sit voluptatem accusantium doloremque laudantium, totam rem aperiam, eaque ipsa quae ab illo inventore veritatis et quasi architecto beatae vitae dicta sunt explicabo, nemo enim ipsam voluptatem quia voluptas sit asperna.\n\nSed ut perspiciatis unde omnis iste natus error sit voluptatem accusantium doloremque laudantium, totam rem aperiam, eaque ipsa quae ab illo inventore veritatis et quasi architecto beatae vitae dicta sunt explicabo, nemo enim ipsam voluptatem quia voluptas sit asperna.','About','','inherit','closed','open','','317-revision','','','2010-07-05 20:17:25','2010-07-05 20:17:25','',317,'http://www.ethanlewismaltby.com/Home/317-revision/',0,'revision','',0),(382,1,'2012-02-21 16:13:17','2012-02-21 16:13:17','\"\"\r\n

Ethan Lewis Maltby is a British composer based in Canterbury, Kent. He writes music for TV, Theatre, Cinema and the Concert Hall.

\r\n

Maltby has scored many films and animations covering many different genres. He has collaborated with Spanish filmmaker Jesús Monllaó on several projects, scoring the award winning \'La Mirada Oblique\', \'Gloria\', and \'The Legacy\', and also with animator Kam-Li Cheng on her stunning animations, \'The Highwayman\' and \'Avatara\'. In late 2006, Maltby scored \'Waste Man\', the Channel 4 documentary on artist Antony Gormley and his sculpture. In theatre, Maltby composed the soundtrack for the first British virtual reality stage play, \'A Midsummer Night\'s Dream\', the score for Hungarian play \'Bloodletting\' and several musicals including \'Courtenay\' (with lyricist Christopher Neame).

\r\n

In 2004 Maltby created, composed and directed \'Noise Ensemble\', a percussion show which has been touring since 2006. This spectacular show has played extensively in UK theatres and venues including The South Bank Centre, Wembley Stadium and on TV\'s Blue Peter. It has also toured Russia, Belgium, Holland, South Korea, Switzerland, Norway and Cyprus. He also composed the score for the 2008 and 2009 FA Cup Final Opening Ceremonies – his track \'FA Overture\' has since become the players walk-on anthem for all major FA games.

\r\n

Maltby\'s latest theatrical show \'DrumChasers\' toured theatres throughout the UK in 2011 with narration by Stephen Fry and received rave reviews. He then finished the year by scoring The Brook Theatre\'s Christmas show, \'Snowy The Fox\'.

\r\n

Maltby is currently scoring Jesús Monllaó\'s debut feature film \'Fill De Cain\'.

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Ethan Lewis Maltby is a British composer based in Canterbury, Kent. He writes music for TV, Theatre, Cinema and the Concert Hall.

\r\n

Maltby has scored many films and animations covering many different genres. He has collaborated with Spanish filmmaker Jesús Monllaó on several projects, scoring the award winning \'La Mirada Oblique\', \'Gloria\', and \'The Legacy\', and also with animator Kam-Li Cheng on her stunning animations, \'The Highwayman\' and \'Avatara\'. In late 2006, Maltby scored \'Waste Man\', the Channel 4 documentary on artist Antony Gormley and his sculpture. In theatre, Maltby composed the soundtrack for the first British virtual reality stage play, \'A Midsummer Night\'s Dream\', the score for Hungarian play \'Bloodletting\' and several musicals including \'Courtenay\' (with lyricist Christopher Neame).

\r\n

In 2004 Maltby created, composed and directed \'Noise Ensemble\', a percussion show which has been touring since 2006. This spectacular show has played extensively in UK theatres and venues including The South Bank Centre, Wembley Stadium and on TV\'s Blue Peter. It has also toured Russia, Belgium, Holland, South Korea, Switzerland, Norway and Cyprus. He also composed the score for the 2008 and 2009 FA Cup Final Opening Ceremonies – his track \'FA Overture\' has since become the players walk-on anthem for all major FA games.

\r\n

Maltby\'s latest theatrical show \'DrumChasers\' toured theatres throughout the UK in 2011 with narration by Stephen Fry and received rave reviews. He then finished the year by scoring The Brook Theatre\'s Christmas show, \'Snowy The Fox\'.

\r\n

Maltby is currently scoring Jesús Monllaó\'s debut feature film \'Fill De Cain\'.

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Blockquote

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Lorem ipsum dolor sit amet, consectetur adipiscing elit. Etiam feugiat nunc ut nibh interdum tempus. Donec at lorem eget sapien iaculis porttitor id quis ligula. Sed ut perspiciatis unde omnis iste natus error sit voluptatem accusantium doloremque laudantium, totam rem aperiam, eaque ipsa quae.
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\n[/one_half_last] ','Styles','','inherit','closed','open','','320-revision','','','2010-07-05 20:19:55','2010-07-05 20:19:55','',320,'http://www.ethanlewismaltby.com/Home/320-revision/',0,'revision','',0),(389,1,'2012-02-21 16:20:20','2012-02-21 16:20:20','
\r\n
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','Media','','inherit','closed','open','','7-revision-3','','','2012-02-21 16:20:20','2012-02-21 16:20:20','',7,'http://www.ethanlewismaltby.com/Home/7-revision-3/',0,'revision','',0),(390,1,'2012-02-21 19:10:19','2012-02-21 19:10:19','
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','Media','','inherit','closed','open','','7-revision-4','','','2012-02-21 19:10:19','2012-02-21 19:10:19','',7,'http://www.ethanlewismaltby.com/Home/7-revision-4/',0,'revision','',0),(391,1,'2012-02-21 16:20:49','2012-02-21 16:20:49','\"\"\r\n

Ethan Lewis Maltby is a British composer based in Canterbury, Kent. He writes music for TV, Theatre, Cinema and the Concert Hall.

\r\n

Maltby has scored many films and animations covering many different genres. He has collaborated with Spanish filmmaker Jesús Monllaó on several projects, scoring the award winning \'La Mirada Oblique\', \'Gloria\', and \'The Legacy\', and also with animator Kam-Li Cheng on her stunning animations, \'The Highwayman\' and \'Avatara\'. In late 2006, Maltby scored \'Waste Man\', the Channel 4 documentary on artist Antony Gormley and his sculpture. In theatre, Maltby composed the soundtrack for the first British virtual reality stage play, \'A Midsummer Night\'s Dream\', the score for Hungarian play \'Bloodletting\' and several musicals including \'Courtenay\' (with lyricist Christopher Neame).

\r\n

In 2004 Maltby created, composed and directed \'Noise Ensemble\', a percussion show which has been touring since 2006. This spectacular show has played extensively in UK theatres and venues including The South Bank Centre, Wembley Stadium and on TV\'s Blue Peter. It has also toured Russia, Belgium, Holland, South Korea, Switzerland, Norway and Cyprus. He also composed the score for the 2008 and 2009 FA Cup Final Opening Ceremonies – his track \'FA Overture\' has since become the players walk-on anthem for all major FA games.

\r\n

Maltby\'s latest theatrical show \'DrumChasers\' toured theatres throughout the UK in 2011 with narration by Stephen Fry and received rave reviews. He then finished the year by scoring The Brook Theatre\'s Christmas show, \'Snowy The Fox\'.

\r\n

Maltby is currently scoring Jesús Monllaó\'s debut feature film \'Fill De Cain\'.

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','Media','','inherit','closed','open','','7-revision-5','','','2012-02-21 19:10:39','2012-02-21 19:10:39','',7,'http://www.ethanlewismaltby.com/Home/7-revision-5/',0,'revision','',0),(394,1,'2012-02-21 16:22:05','2012-02-21 16:22:05','Reviews','Reviews','','inherit','closed','open','','318-revision-2','','','2012-02-21 16:22:05','2012-02-21 16:22:05','',318,'http://www.ethanlewismaltby.com/Home/318-revision-2/',0,'revision','',0),(492,1,'2013-11-23 14:19:00','2013-11-23 14:19:00','

Five ELM albums now available online

\nELM has released five albums of his work to purchase on iTunes, Google Play and Amazon MP3.','SLide 14','','inherit','closed','open','','490-autosave','','','2013-11-23 14:19:00','2013-11-23 14:19:00','',490,'http://www.ethanlewismaltby.com/Home/490-autosave/',0,'revision','',0),(489,1,'2012-02-21 19:10:50','2012-02-21 19:10:50','\"\"\r\n

Ethan Lewis Maltby is a British composer based in Canterbury, Kent. He writes music for TV, Theatre, Cinema and the Concert Hall.

\r\n

Maltby has scored many films and animations covering many different genres. He has collaborated with Spanish filmmaker Jesús Monllaó on several projects, scoring the award winning \'La Mirada Oblique\', \'Gloria\', and \'The Legacy\', and also with animator Kam-Li Cheng on her stunning animations, \'The Highwayman\' and \'Avatara\'. In late 2006, Maltby scored \'Waste Man\', the Channel 4 documentary on artist Antony Gormley and his sculpture. In theatre, Maltby composed the soundtrack for the first British virtual reality stage play, \'A Midsummer Night\'s Dream\', the score for Hungarian play \'Bloodletting\' and several musicals including \'Courtenay\' (with lyricist Christopher Neame).

\r\n

In 2004 Maltby created, composed and directed \'Noise Ensemble\', a percussion show which has been touring since 2006. This spectacular show has played extensively in UK theatres and venues including The South Bank Centre, Wembley Stadium and on TV\'s Blue Peter. It has also toured Russia, Belgium, Holland, South Korea, Switzerland, Norway and Cyprus. He also composed the score for the 2008 and 2009 FA Cup Final Opening Ceremonies – his track \'FA Overture\' has since become the players walk-on anthem for all major FA games.

\r\n

Maltby\'s latest theatrical show \'DrumChasers\' toured theatres throughout the UK in 2011 with narration by Stephen Fry and received rave reviews. He then finished the year by scoring The Brook Theatre\'s Christmas show, \'Snowy The Fox\'.

\r\n

Maltby is currently scoring Jesús Monllaó\'s debut feature film \'Fill De Cain\'.

','About','','inherit','closed','open','','317-revision-5','','','2012-02-21 19:10:50','2012-02-21 19:10:50','',317,'http://www.ethanlewismaltby.com/Home/317-revision-5/',0,'revision','',0),(430,1,'2010-07-05 20:20:16','2010-07-05 20:20:16','

Contact information

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Links

[nggallery id=1]
','Contact','','inherit','closed','open','','15-revision-4','','','2012-02-21 20:31:09','2012-02-21 20:31:09','',15,'http://www.ethanlewismaltby.com/Home/15-revision-4/',0,'revision','',0),(442,1,'2012-02-06 14:09:28','2012-02-06 14:09:28','Review by Peter Lathan (2011)\r\n\r\nThe advertising for DrumChasers promises \"an evening quite unlike anything you’ve seen before.\" It is, we are told, \"a musical without words, but with drums.\"\r\n\r\n \r\n\r\nIt\'s a percussion show, from drum kit to triangle, from gong to xylophone. A cast of eleven (plus voice-over by Stephen Fry) play their carefully and tightly choreographed way through a variant on the Romeo and Juliet story set in a parallel world, Noiseland, which somehow bursts into our world in an old concert hall where caretaker Mr Bennett, played by Jack Warner, looks after the instruments stored there. He is to be the instrument (pun intended) which solves Noiseland\'s age-old problems and bringing back peace.\r\n\r\n \r\n\r\nAnd that\'s not a spoiler: it\'s in the advertising!\r\n\r\n \r\n\r\nThis could be the recipe for something cringingly self-indugent, and that feeling was exacerbated by the fact that, because I arrived early and was on my own for this show, I read the programme before it started. There, on the first inside page, was an introduction, written in verse which could have been penned by that master of the appalling rhyme, William McGonagall. My heart sank!\r\n\r\n \r\n\r\n(Those who don\'t know McGonagall really should look at McGonagall Online and marvel!)\r\n\r\n \r\n\r\nIf I say that, about a third of the way through the first act, these words are spoken by Stephen Fry, you will realise - as I did at that moment - that this is not a show that takes itself too seriously. Indeed, it is shot through with self-deprecating humour, subverting any expectation that we are going to get a tragedy - or even a melodrama. And it gets that balance between humour and the seriousness required to interest us in the story exactly right.\r\n\r\n \r\n\r\nWhat DrumChasers actually is is very entertaining, even for those who are not particularly interested in percussion. The skill, talent and commitment of the performers are amazing and the lighting - inevitably very rock concert influenced - impressive. The movement of the instruments on, off and around the stage (by the cast) is smooth and quick and the costumes and make-up were close to but not exactly of this world, nicely contrasted with Mr Bennett\'s brown coat and flat cap. I did wonder if the sticks which the Noise Wrangler uses to control her people were meant to remind us of Jedi light sabres. They certainly did me.\r\n\r\n \r\n\r\nBut it is the performances which will stick in the memory. There was a number (I can\'t think of any other word) in which two opposing faction members fought each other, circling back and forth round two xylophones placed centrestage and never missing a note or even for a second losing their confrontational body language and expressions. And a comic highlight was a duel between two triangle playing cast members.\r\n\r\n \r\n\r\nGreat fun!','Great British Theatre','\"What DrumChasers actually is is very entertaining, even for those who are not particularly interested in percussion. The skill, talent and commitment of the performers are amazing and the lighting - inevitably very rock concert influenced - impressive. \"','inherit','closed','open','','184-revision-4','','','2012-02-06 14:09:28','2012-02-06 14:09:28','',184,'http://www.ethanlewismaltby.com/Home/184-revision-4/',0,'revision','',0),(440,1,'2012-02-24 18:00:43','2012-02-24 18:00:43','

Long after the smoke has drifted from the battlefield, audiences will remember Courtenay.

\r\n\r\n

This musical plucked from the Kentish history books - and fashioned into a sophisticated entertainment by a composer and lyricist relatively new to the genre – deserves its place on a wider stage.

\r\n\r\n

By turns exciting and tender, thought-provoking and uplifting, Courtenay is set around 20 years after the Peterloo massacre and looks behind the curious story of the last battle to be fought on English soil and makes a cracking, three-dimensional show of it. Composer, orchestrator and musical director, Ethan Lewis Maltby, not yet 30 but nevertheless a self-confessed fan of the swashbuckling era, has sewn a rich seam of interwoven themes throughout the two acts. His music hits spot.

\r\n\r\n

While paying plentiful homage to his first musical love, percussion, the score has pace, vitality and, dare I say it, hummability and while that may not be fashionable it certainly helps to convince ticket-buyers that they have had their money’s worth. See a show and take a tune away with you is no bad slogan even for a modern musical.

\r\n\r\n

Each of the central characters in Courtenay has a haunting theme of his or her own which blend to great effect at moments of tenderness, for this show is not all about dreams of the 19th century working man finding his true worth under the sleety, unforgiving gaze of establishment figures.

\r\n\r\n

Lyricist Christopher Neame has taken a complex subject and given a perspective to Courtenay\'s story that many historians have discarded in favour of a simplistic view that the protagonist was mad and all his followers simple. The lyrics, particularly those given to Courtenay are intelligent without being polemical.

\r\n\r\n

At the opening at Canterbury’s Marlowe Theatre on Thursday it was hard to find any chinks in this emotive story of one man\'s slide from visionary enthusiasm to self-delusion and destruction. There were some technical problems, chiefly with the sound balance, but the principals and ensemble worked together to produce a first night to be proud of.

\r\n\r\n

The show is fortunate in having a trio of voices at the top that would match the best the West End has to offer. Loren Geeting as Courtenay, Renée Salewski as the object of his desire, Sarah Culver and David Wyatt as Nicholas Mears, the lover cast aside by Culver for Courtenay’s more dazzling attractions, are a class act. Wyatt has a voice that we will hear again and again if the scouts are doing their job and Geeting and Salewski both live up to their credentials.

\r\n\r\n

Lindsey Mack as the Canterbury Marshal, Captain Townsend, cuts a dash darkly as the man who is out to thwart Courtenay\'s egalitarian ambitions. His presence is like that of a sinister crow. Antonia Bond generates tenderness as the wife Courtenay left behind, struggling to understand her husband’s wild side and Anthony Garner provides a solid presence as the narrator Everyman who guides the audience, many of whom will be unfamiliar with the story, carefully and unobtrusively.

\r\n\r\n

Set design is also instrumental to the success of this show. Veteran film and TV designer Roy Stannard, a newcomer to the theatre whose credits include David Lean\'s Lawrence of Arabia, has produced a simple, yet effective raked platform in which most of the action is concentrated, focusing the attention perfectly.

\r\n\r\n

All this is overseen by a reaper, a simple agricultural machine seen as the means by which the landowner will emasculate the labourer.

\r\n\r\n

As the show opens, the machine, cast as the grim reaper, dominates a stark scene as the countrysiders who will come to follow Courtenay, scrape a living from the soil while sinister clouds drift across the landscape. The climate of fear is brought home by blood-red effects schemed by Ben M Rogers, a lighting designer with many West End and international credits to his name, whose skills help to create Courtenay\'s many memorable moods.

\r\n\r\n

This homespun show is something Kent can be proud of and one that audiences anywhere would appreciate. Surely local history was never this alive, or so worthy of the standing ovation it got on Thursday.

\r\n\r\n

Russell Flint','Kent on Sunday','\"By turns exciting and tender, thought-provoking and uplifting, Courtenay is set around 20 years after the Peterloo massacre and looks behind the curious story of the last battle to be fought on English soil and makes a cracking, three-dimensional show of it. Composer, orchestrator and musical director, Ethan Lewis Maltby, not yet 30 but nevertheless a self-confessed fan of the swashbuckling era, has sewn a rich seam of interwoven themes throughout the two acts. His music hits spot.\"','inherit','closed','open','','225-revision-5','','','2012-02-24 18:00:43','2012-02-24 18:00:43','',225,'http://www.ethanlewismaltby.com/Home/225-revision-5/',0,'revision','',0),(441,1,'2012-02-24 18:01:14','2012-02-24 18:01:14','

Long after the smoke has drifted from the battlefield, audiences will remember Courtenay.

\r\n

This musical plucked from the Kentish history books - and fashioned into a sophisticated entertainment by a composer and lyricist relatively new to the genre – deserves its place on a wider stage.

\r\n

By turns exciting and tender, thought-provoking and uplifting, Courtenay is set around 20 years after the Peterloo massacre and looks behind the curious story of the last battle to be fought on English soil and makes a cracking, three-dimensional show of it. Composer, orchestrator and musical director, Ethan Lewis Maltby, not yet 30 but nevertheless a self-confessed fan of the swashbuckling era, has sewn a rich seam of interwoven themes throughout the two acts. His music hits spot.

\r\n

While paying plentiful homage to his first musical love, percussion, the score has pace, vitality and, dare I say it, hummability and while that may not be fashionable it certainly helps to convince ticket-buyers that they have had their money’s worth. See a show and take a tune away with you is no bad slogan even for a modern musical.

\r\n

Each of the central characters in Courtenay has a haunting theme of his or her own which blend to great effect at moments of tenderness, for this show is not all about dreams of the 19th century working man finding his true worth under the sleety, unforgiving gaze of establishment figures.

\r\n

Lyricist Christopher Neame has taken a complex subject and given a perspective to Courtenay\'s story that many historians have discarded in favour of a simplistic view that the protagonist was mad and all his followers simple. The lyrics, particularly those given to Courtenay are intelligent without being polemical.

\r\n

At the opening at Canterbury’s Marlowe Theatre on Thursday it was hard to find any chinks in this emotive story of one man\'s slide from visionary enthusiasm to self-delusion and destruction. There were some technical problems, chiefly with the sound balance, but the principals and ensemble worked together to produce a first night to be proud of.

\r\n

The show is fortunate in having a trio of voices at the top that would match the best the West End has to offer. Loren Geeting as Courtenay, Renée Salewski as the object of his desire, Sarah Culver and David Wyatt as Nicholas Mears, the lover cast aside by Culver for Courtenay’s more dazzling attractions, are a class act. Wyatt has a voice that we will hear again and again if the scouts are doing their job and Geeting and Salewski both live up to their credentials.

\r\n

Lindsey Mack as the Canterbury Marshal, Captain Townsend, cuts a dash darkly as the man who is out to thwart Courtenay\'s egalitarian ambitions. His presence is like that of a sinister crow. Antonia Bond generates tenderness as the wife Courtenay left behind, struggling to understand her husband’s wild side and Anthony Garner provides a solid presence as the narrator Everyman who guides the audience, many of whom will be unfamiliar with the story, carefully and unobtrusively.

\r\n

Set design is also instrumental to the success of this show. Veteran film and TV designer Roy Stannard, a newcomer to the theatre whose credits include David Lean\'s Lawrence of Arabia, has produced a simple, yet effective raked platform in which most of the action is concentrated, focusing the attention perfectly.

\r\n

All this is overseen by a reaper, a simple agricultural machine seen as the means by which the landowner will emasculate the labourer.

\r\n

As the show opens, the machine, cast as the grim reaper, dominates a stark scene as the countrysiders who will come to follow Courtenay, scrape a living from the soil while sinister clouds drift across the landscape. The climate of fear is brought home by blood-red effects schemed by Ben M Rogers, a lighting designer with many West End and international credits to his name, whose skills help to create Courtenay\'s many memorable moods.

\r\n

This homespun show is something Kent can be proud of and one that audiences anywhere would appreciate. Surely local history was never this alive, or so worthy of the standing ovation it got on Thursday.

\r\n

Russell Flint','Kent on Sunday','\"By turns exciting and tender, thought-provoking and uplifting, Courtenay is set around 20 years after the Peterloo massacre and looks behind the curious story of the last battle to be fought on English soil and makes a cracking, three-dimensional show of it. Composer, orchestrator and musical director, Ethan Lewis Maltby, not yet 30 but nevertheless a self-confessed fan of the swashbuckling era, has sewn a rich seam of interwoven themes throughout the two acts. His music hits spot.\"','inherit','closed','open','','225-revision-6','','','2012-02-24 18:01:14','2012-02-24 18:01:14','',225,'http://www.ethanlewismaltby.com/Home/225-revision-6/',0,'revision','',0),(444,1,'2012-01-23 20:18:52','2012-01-23 20:18:52','WHAT A Show, Drumchasers has certainly promised a great evenings entertainment in Torquay – This is something that you’ve NEVER Seen before, it is a Musical, without words – but a Hell of a lot of drums!!\r\n\r\n \r\n\r\nFeaturing the Voice of Stephen Fry, this show has everything, Music, Action, Comedy, Fun, Energy! It was immense. I was so glad to be able to see this show in Torquay, it was a shame to see that the 1,500 seater venue was only a third full, which was a real shame, as the amount of energy that each cast member put into this show – was totally amazing.\r\n\r\n \r\n\r\nThe music was just great listening, and certainly put a smile on your face watching, my mother in fact took a short video of the show, and I hope that we’re not breaching any copyright laws, but I feel that other people should see HOW amazing this show actually is.\r\n\r\n \r\n\r\nThe show features all percussions from a Triangle to a Drum, and an amazing 10 minute piece to a Xylophone. A Cast of 11 play with their hearts content, this amazing choreographed production though a Romeo and Juliet story set in ‘Noiseland’ world, which expands into the Human world of an old Theatre where the caretaker ‘Mr Bennett’ played by Jack Warner looks after the instruments which are stored there, he’s the one that solves the way which brings back the peace to everyone at Noiseland.\r\n\r\n \r\n\r\nDrumchasers is an entertaining piece of work, and the skill which is used throughout the show, not just playing the instruments by dancing with them, and making the show come alive is amazing. The Sound was superb, and the Lighting – Wow, It was FANTASTIC! The lighting designer for this show must be very proud, and I Can imagine very fun to design.\r\n\r\n \r\n\r\nThis is a NEW Show, and I understand why there maybe wasn’t so many people – But, if this show comes near you, it’s 100% worth a watch! Buy Tickets!!\r\n\r\n \r\n\r\nPLEASE Come back to Torquay Drumchasers!','Talk Torbay','\"The music was just great listening...It was immense...\"','inherit','closed','open','','182-revision-3','','','2012-01-23 20:18:52','2012-01-23 20:18:52','',182,'http://www.ethanlewismaltby.com/Home/182-revision-3/',0,'revision','',0),(446,1,'2012-01-23 20:12:38','2012-01-23 20:12:38','By Vera Fletcher\r\n\r\n \r\n\r\nDrumChasers sells itself as an explosion of sound and light with a story of romance, rivalry and rhythm and it doesn\'t disappoint. Think Romeo and Juliet with drumsticks (and without the poison). The synopsis of the show tells the story of Mr Bennett, a caretaker in an old concert hall who looks after the instruments stored within its walls. However, one night, something happens, something loud and something otherworldly and he is transported to the land of the DrumChasers. I felt this premise got a bit lost within the first ten minutes, Mr Bennett being swiftly cast aside from view and frantic, captivating drumming prevailed. Just when I had almost written off the storyline as a feeble excuse for a night of intoxicating percussion, the soothing tones of Stephen Fry stepped in to narrate and educate the audience on The Noiseland Tale. Aside from the intermittent guidance of Mr Fry this story was told solely through the use of incredibly skilled drumming, expressive dance and imaginative lighting. Armed with drumsticks as weapons, the fight scenes made convincing battles with emotional integrity. The underlying love story was a particular highlight which needed no explanation, proving some of the best stories are wordless.\r\n\r\n \r\n\r\nThe performance was polished and professional and the story gained in momentum and strength as the show progressed. Mr Bennett too, being given a bit more stage time to ingrain himself in the performance. The drumming was electric and the energy was infectious, at times it took great pains not to jump up and join in from the aisles. Thankfully towards the shows end there was opportunity to participate rhythmically from the safety of your seat which culminated in a loud surge of release from the audience of previously bottled toe tapping and hand clapping.\r\n\r\n \r\n\r\nAlong the same vein, if you liked Stomp you\'ll love DrumChasers, an uplifting, enjoyable night out even for those with no rhythm.','RemoteGoat','\"A night of intoxicating percussion...the energy was infectious, at times it took great pains not to jump up and join in from the aisles.\"','inherit','closed','open','','174-revision-4','','','2012-01-23 20:12:38','2012-01-23 20:12:38','',174,'http://www.ethanlewismaltby.com/Home/174-revision-4/',0,'revision','',0),(447,1,'2012-01-23 20:10:00','2012-01-23 20:10:00','By Jonathan Wilkes\r\n\r\n \r\n\r\nNoise Ensemble’s epic musical DrumChasers, replacing vocals with percussion, is an explosive display of sound and light. Eleven virtuosic performers with endless energy and talent offered a mesmerising experience and a beautiful story.\r\n\r\n \r\n\r\nCaretaker at a concert hall, Mr Bennett (Jack Warner), witnesses a doorway opening to a dystopian world where people play percussion instruments, inlcuding drums, xylophones and triangles, as communication. And Noiseland’s inhabitants play extremely well, never missing a beat.\r\n\r\n \r\n\r\nA Dr Seuss-esque narration by Stephen Fry tells us they are caught in an age-old feud. War is prevented only by the mystical powers of the Noise Wrangler and her purple lightsabres. A blossoming Romeo and Juliet romance and a discovery by Mr Bennett however could lead to peace.\r\n\r\n \r\n\r\nThe truly spectacular DrumChasers leaves one in awe of how every element worked in exquisite harmony. It perfectly balanced gravitas and self-deprecation so the audience (which should have been bigger) never doubted Noise Ensemble’s soulful tale.\r\n\r\n \r\n\r\nThe melodious music, accompanied by a spellbinding orchestral and electric score, was extraordinary: powerful, stentorian drumming quickly followed by more melodious, playful flourishes on xylophones and glockenspiels.\r\n\r\n \r\n\r\nIt had action, romance, poignancy and comedy – a pitch-black performance with glow-in-the-dark levitating drums being especially funny. The industrial set and apocalyptic costumes, and a literally breath-taking lighting design, really enhanced the production.\r\n\r\n \r\n\r\nSpecial mention must go to Georgina King for the exhilarating choreography and to composer, director and creator Ethan Lewis Maltby.\r\n\r\n \r\n\r\nHis resplendent production is a profoundly affecting and memorable theatrical experience.\r\n\r\n \r\n\r\nHere’s hoping the doorway to Noiseland opens again.','The York Press','The melodious music, accompanied by a spellbinding orchestral and electric score, was extraordinary: powerful...','inherit','closed','open','','172-revision-4','','','2012-01-23 20:10:00','2012-01-23 20:10:00','',172,'http://www.ethanlewismaltby.com/Home/172-revision-4/',0,'revision','',0),(450,1,'2012-02-25 13:12:41','2012-02-25 13:12:41','Mid Hants Observer – June 1st, The Nuffield, Southampton\n\nAn extract from the article/review “Tub thumping”\n\nIt was with some trepidation that I approached Noise Ensemble, billed as an “international percussion sensation”… Any misgivings I may have had were instantly extinguished when a voice announced that the following performance would contain “graphic beatings and scenes of a percussive nature.” A statement of intent that hinted that Noise Ensemble didn’t take itself too seriously. From this point on we were treated to a riotous evening of non stop entertainment.\n\nNoise Ensemble is a new and unique twist on musical theatre, with Ethan Lewis Maltby’s score brought vividly to life by a troupe of ten young, beautiful and obscenely talented percussionists. My notes from the night are sketchy at best, a reflection of how much I was enjoying the show. A couple of legible entries mention rock band with xylophones (certainly no bad thing in my book ), the tongue in cheek cable TV-style interludes, and a real ‘vaudevillian feel’ (don’t ask how I wrote that in the dark), with comic interludes reminiscent of traditional circus clowns.\n\nMusically speaking, there were moments of jaw-dropping beauty, particularly the interplay between marimbas, xylophones and the rest of the percussive arsenal. Noise Ensemble covers a lot of ground. Late in the set we were treated to some 70s style wah-wah guitar and choreography that appeared to pay homage to West Side Story, unsurprising elements when you consider the composer’s background in film scores.\n\nNoise Ensemble is certainly unique, relentlessly entertaining and shot through with plenty of humour, delivered by an impossibly good looking cast. It’s an energetic show that I would have no hesitation in recommending to audiences of all ages. Another demonstration of The Nuffield’s commitment to original and spectacular productions. On top of that I’ve had to reappraise my relationship with drums and drumming. For now at least.\n','Mid Hants Observer ','','inherit','closed','open','','449-revision','','','2012-02-25 13:12:41','2012-02-25 13:12:41','',449,'http://www.ethanlewismaltby.com/Home/449-revision/',0,'revision','',0),(451,1,'2012-02-25 13:13:02','2012-02-25 13:13:02','Mid Hants Observer – Noise Ensemble - June 1st, The Nuffield, Southampton\r\n\r\nAn extract from the article/review “Tub thumping”\r\n\r\nIt was with some trepidation that I approached Noise Ensemble, billed as an “international percussion sensation”… Any misgivings I may have had were instantly extinguished when a voice announced that the following performance would contain “graphic beatings and scenes of a percussive nature.” A statement of intent that hinted that Noise Ensemble didn’t take itself too seriously. From this point on we were treated to a riotous evening of non stop entertainment.\r\n\r\nNoise Ensemble is a new and unique twist on musical theatre, with Ethan Lewis Maltby’s score brought vividly to life by a troupe of ten young, beautiful and obscenely talented percussionists. My notes from the night are sketchy at best, a reflection of how much I was enjoying the show. A couple of legible entries mention rock band with xylophones (certainly no bad thing in my book ), the tongue in cheek cable TV-style interludes, and a real ‘vaudevillian feel’ (don’t ask how I wrote that in the dark), with comic interludes reminiscent of traditional circus clowns.\r\n\r\nMusically speaking, there were moments of jaw-dropping beauty, particularly the interplay between marimbas, xylophones and the rest of the percussive arsenal. Noise Ensemble covers a lot of ground. Late in the set we were treated to some 70s style wah-wah guitar and choreography that appeared to pay homage to West Side Story, unsurprising elements when you consider the composer’s background in film scores.\r\n\r\nNoise Ensemble is certainly unique, relentlessly entertaining and shot through with plenty of humour, delivered by an impossibly good looking cast. It’s an energetic show that I would have no hesitation in recommending to audiences of all ages. Another demonstration of The Nuffield’s commitment to original and spectacular productions. On top of that I’ve had to reappraise my relationship with drums and drumming. For now at least.\r\n','Mid Hants Observer ','','inherit','closed','open','','449-revision-2','','','2012-02-25 13:13:02','2012-02-25 13:13:02','',449,'http://www.ethanlewismaltby.com/Home/449-revision-2/',0,'revision','',0),(452,1,'2012-02-25 13:13:24','2012-02-25 13:13:24','Mid Hants Observer – Noise Ensemble - June 1st, The Nuffield, Southampton\r\n\r\nAn extract from the article/review “Tub thumping”\r\n\r\nIt was with some trepidation that I approached Noise Ensemble, billed as an “international percussion sensation”… Any misgivings I may have had were instantly extinguished when a voice announced that the following performance would contain “graphic beatings and scenes of a percussive nature.” A statement of intent that hinted that Noise Ensemble didn’t take itself too seriously. From this point on we were treated to a riotous evening of non stop entertainment.\r\n\r\nNoise Ensemble is a new and unique twist on musical theatre, with Ethan Lewis Maltby’s score brought vividly to life by a troupe of ten young, beautiful and obscenely talented percussionists. My notes from the night are sketchy at best, a reflection of how much I was enjoying the show. A couple of legible entries mention rock band with xylophones (certainly no bad thing in my book ), the tongue in cheek cable TV-style interludes, and a real ‘vaudevillian feel’ (don’t ask how I wrote that in the dark), with comic interludes reminiscent of traditional circus clowns.\r\n\r\nMusically speaking, there were moments of jaw-dropping beauty, particularly the interplay between marimbas, xylophones and the rest of the percussive arsenal. Noise Ensemble covers a lot of ground. Late in the set we were treated to some 70s style wah-wah guitar and choreography that appeared to pay homage to West Side Story, unsurprising elements when you consider the composer’s background in film scores.\r\n\r\nNoise Ensemble is certainly unique, relentlessly entertaining and shot through with plenty of humour, delivered by an impossibly good looking cast. It’s an energetic show that I would have no hesitation in recommending to audiences of all ages. Another demonstration of The Nuffield’s commitment to original and spectacular productions. On top of that I’ve had to reappraise my relationship with drums and drumming. For now at least.\r\n','Mid Hants Observer ','','inherit','closed','open','','449-revision-3','','','2012-02-25 13:13:24','2012-02-25 13:13:24','',449,'http://www.ethanlewismaltby.com/Home/449-revision-3/',0,'revision','',0),(453,1,'2012-02-25 13:14:12','2012-02-25 13:14:12','Mid Hants Observer – Noise Ensemble - June 1st, The Nuffield, Southampton\r\n\r\nAn extract from the article/review “Tub thumping”\r\n\r\nIt was with some trepidation that I approached Noise Ensemble, billed as an “international percussion sensation”… Any misgivings I may have had were instantly extinguished when a voice announced that the following performance would contain “graphic beatings and scenes of a percussive nature.” A statement of intent that hinted that Noise Ensemble didn’t take itself too seriously. From this point on we were treated to a riotous evening of non stop entertainment.\r\n\r\nNoise Ensemble is a new and unique twist on musical theatre, with Ethan Lewis Maltby’s score brought vividly to life by a troupe of ten young, beautiful and obscenely talented percussionists. My notes from the night are sketchy at best, a reflection of how much I was enjoying the show. A couple of legible entries mention rock band with xylophones (certainly no bad thing in my book ), the tongue in cheek cable TV-style interludes, and a real ‘vaudevillian feel’ (don’t ask how I wrote that in the dark), with comic interludes reminiscent of traditional circus clowns.\r\n\r\nMusically speaking, there were moments of jaw-dropping beauty, particularly the interplay between marimbas, xylophones and the rest of the percussive arsenal. Noise Ensemble covers a lot of ground. Late in the set we were treated to some 70s style wah-wah guitar and choreography that appeared to pay homage to West Side Story, unsurprising elements when you consider the composer’s background in film scores.\r\n\r\nNoise Ensemble is certainly unique, relentlessly entertaining and shot through with plenty of humour, delivered by an impossibly good looking cast. It’s an energetic show that I would have no hesitation in recommending to audiences of all ages. Another demonstration of The Nuffield’s commitment to original and spectacular productions. On top of that I’ve had to reappraise my relationship with drums and drumming. For now at least.','Mid Hants Observer ','','inherit','closed','open','','449-revision-4','','','2012-02-25 13:14:12','2012-02-25 13:14:12','',449,'http://www.ethanlewismaltby.com/Home/449-revision-4/',0,'revision','',0),(454,1,'2011-10-01 13:20:18','2011-10-01 13:20:18','Kentish Gazette – Marlowe Theatre,Canterbury\r\n\r\n \r\n\r\nDrumming up a storm of a show.\r\n\r\n \r\n\r\nThe drummers’ union was out in Canterbury in force last week with an awesome demonstration of percussion and orchestral drumming. My expectations were lowered by the presence of a poster quote, comparing it to the woeful cheese of Riverdance, but thankfully this was so much better.\r\n\r\nNoise Ensemble has grown from its beginnings as a small show at the Edinburgh Fringe to a wonderful show of dance and drums. Actually, mainly drums.\r\n\r\n \r\n\r\nThe 10 percussionists were playing the music ofCanterbury’s Ethan Lewis Maltby in a spectacular display of co-ordination and pure musicianship that had musicians such as myself cursing their overabundance of talent. Beautiful marimba and vibes’ playing mixed with martial snare and tom work and there were comedy interludes with flying drums and cable TV for drummers.\r\n\r\n \r\n\r\nWhy this show has not become as big a hit as rival Stomp, I can’t understand.\r\n\r\n \r\n\r\nReview by Chris Denham','Kentish Gazette','On Noise Ensemble... \"The 10 percussionists were playing the music ofCanterbury’s Ethan Lewis Maltby in a spectacular display of co-ordination and pure musicianship that had musicians such as myself cursing their overabundance of talent. Beautiful marimba and vibes’ playing mixed with martial snare and tom work and there were comedy interludes with flying drums and cable TV for drummers. Why this show has not become as big a hit as rival Stomp, I can’t understand.\"','publish','closed','closed','','kentish-gazette-noise-ensemble','','','2015-06-18 20:15:21','2015-06-18 20:15:21','',0,'http://www.ethanlewismaltby.com/Home/?p=454',0,'post','',0),(455,1,'2012-02-25 13:19:23','2012-02-25 13:19:23','Kentish Gazette – Marlowe Theatre,Canterbury\n\n \n\nDrumming up a storm of a show.\n\n \n\nThe drummers’ union was out in Canterbury in force last week with an awesome demonstration of percussion and orchestral drumming. My expectations were lowered by the presence of a poster quote, comparing it to the woeful cheese of Riverdance, but thankfully this was so much better.\n\nNoise Ensemble has grown from its beginnings as a small show at the Edinburgh Fringe to a wonderful show of dance and drums. Actually, mainly drums.\n\n \n\nThe 10 percussionists were playing the music ofCanterbury’s Ethan Lewis Maltby in a spectacular display of co-ordination and pure musicianship that had musicians such as myself cursing their overabundance of talent. Beautiful marimba and vibes’ playing mixed with martial snare and tom work and there were comedy interludes with flying drums and cable TV for drummers.\n\n \n\nWhy this show has not become as big a hit as rival Stomp, I can’t understand.\n\n \n\nReview by Chris Denham','Kentish Gazette - Noise Ensemble','','inherit','closed','open','','454-revision','','','2012-02-25 13:19:23','2012-02-25 13:19:23','',454,'http://www.ethanlewismaltby.com/Home/454-revision/',0,'revision','',0),(456,1,'2012-02-25 13:20:18','2012-02-25 13:20:18','Kentish Gazette – Marlowe Theatre,Canterbury\r\n\r\n \r\n\r\nDrumming up a storm of a show.\r\n\r\n \r\n\r\nThe drummers’ union was out in Canterbury in force last week with an awesome demonstration of percussion and orchestral drumming. My expectations were lowered by the presence of a poster quote, comparing it to the woeful cheese of Riverdance, but thankfully this was so much better.\r\n\r\nNoise Ensemble has grown from its beginnings as a small show at the Edinburgh Fringe to a wonderful show of dance and drums. Actually, mainly drums.\r\n\r\n \r\n\r\nThe 10 percussionists were playing the music ofCanterbury’s Ethan Lewis Maltby in a spectacular display of co-ordination and pure musicianship that had musicians such as myself cursing their overabundance of talent. Beautiful marimba and vibes’ playing mixed with martial snare and tom work and there were comedy interludes with flying drums and cable TV for drummers.\r\n\r\n \r\n\r\nWhy this show has not become as big a hit as rival Stomp, I can’t understand.\r\n\r\n \r\n\r\nReview by Chris Denham','Kentish Gazette - Noise Ensemble','\"The 10 percussionists were playing the music ofCanterbury’s Ethan Lewis Maltby in a spectacular display of co-ordination and pure musicianship that had musicians such as myself cursing their overabundance of talent. Beautiful marimba and vibes’ playing mixed with martial snare and tom work and there were comedy interludes with flying drums and cable TV for drummers. Why this show has not become as big a hit as rival Stomp, I can’t understand.\"','inherit','closed','open','','454-revision-2','','','2012-02-25 13:20:18','2012-02-25 13:20:18','',454,'http://www.ethanlewismaltby.com/Home/454-revision-2/',0,'revision','',0),(457,1,'2012-02-25 13:16:15','2012-02-25 13:16:15','Mid Hants Observer – Noise Ensemble -  The Nuffield, Southampton\r\n\r\nAn extract from the article/review “Tub thumping”\r\n\r\nIt was with some trepidation that I approached Noise Ensemble, billed as an “international percussion sensation”… Any misgivings I may have had were instantly extinguished when a voice announced that the following performance would contain “graphic beatings and scenes of a percussive nature.” A statement of intent that hinted that Noise Ensemble didn’t take itself too seriously. From this point on we were treated to a riotous evening of non stop entertainment.\r\n\r\nNoise Ensemble is a new and unique twist on musical theatre, with Ethan Lewis Maltby’s score brought vividly to life by a troupe of ten young, beautiful and obscenely talented percussionists. My notes from the night are sketchy at best, a reflection of how much I was enjoying the show. A couple of legible entries mention rock band with xylophones (certainly no bad thing in my book ), the tongue in cheek cable TV-style interludes, and a real ‘vaudevillian feel’ (don’t ask how I wrote that in the dark), with comic interludes reminiscent of traditional circus clowns.\r\n\r\nMusically speaking, there were moments of jaw-dropping beauty, particularly the interplay between marimbas, xylophones and the rest of the percussive arsenal. Noise Ensemble covers a lot of ground. Late in the set we were treated to some 70s style wah-wah guitar and choreography that appeared to pay homage to West Side Story, unsurprising elements when you consider the composer’s background in film scores.\r\n\r\nNoise Ensemble is certainly unique, relentlessly entertaining and shot through with plenty of humour, delivered by an impossibly good looking cast. It’s an energetic show that I would have no hesitation in recommending to audiences of all ages. Another demonstration of The Nuffield’s commitment to original and spectacular productions. On top of that I’ve had to reappraise my relationship with drums and drumming. For now at least.','Mid Hants Observer ','\"Noise Ensemble is a new and unique twist on musical theatre, with Ethan Lewis Maltby’s score brought vividly to life by a troupe of ten young, beautiful and obscenely talented percussionists. My notes from the night are sketchy at best, a reflection of how much I was enjoying the show.\"','inherit','closed','open','','449-revision-5','','','2012-02-25 13:16:15','2012-02-25 13:16:15','',449,'http://www.ethanlewismaltby.com/Home/449-revision-5/',0,'revision','',0),(458,1,'2011-02-25 13:24:45','2011-02-25 13:24:45','Southern Echo – The Nuffield, Southampton\r\n\r\n \r\n\r\nForgive me for banging on about how good this is…\r\n\r\n \r\n\r\nIs there nothing this lot can’t do with a drum? After enjoying two hours of percussive genius from Noise Ensemble, I suspect not. You may think that is overly long for a show which is simply based on banging a big instrument with a stick. But there is so much more to it than that.\r\n\r\n \r\n\r\nWe were treated to all manner of things from drumstick throwing to seemingly flying drums and from spinning dance routines to comedy noise sketches. And the on-stage Noise TV screen was showing Drum DIY, drum survival, percussion exercise classes and the drumming world championships. The cast of 10 burst on to stage for this high-energy and incredibly loud display of drumming at its best.\r\n\r\n \r\n\r\nWhat follows is more of a theatrical experience than a musical one – with set changes every few minutes and performers who play everything from marimbas and maracas to triangles and tom-toms. It combines music, dancing, visual effects and even has a sense of humour. It made me wish I was a little better at banging things with a stick.','Southern Echo','On Noise Ensemble... \"Is there nothing this lot can’t do with a drum? After enjoying two hours of percussive genius from Noise Ensemble, I suspect not. You may think that is overly long for a show which is simply based on banging a big instrument with a stick. But there is so much more to it than that.\"','publish','closed','closed','','southern-echo','','','2015-06-18 20:15:21','2015-06-18 20:15:21','',0,'http://www.ethanlewismaltby.com/Home/?p=458',0,'post','',0),(459,1,'2012-02-25 13:23:56','2012-02-25 13:23:56','Southern Echo – June 3rd, The Nuffield, Southampton\n\n \n\nForgive me for banging on about how good this is…\n\n \n\nIs there nothing this lot can’t do with a drum? After enjoying two hours of percussive genius from Noise Ensemble, I suspect not. You may think that is overly long for a show which is simply based on banging a big instrument with a stick. But there is so much more to it than that.\n\n \n\nWe were treated to all manner of things from drumstick throwing to seemingly flying drums and from spinning dance routines to comedy noise sketches. And the on-stage Noise TV screen was showing Drum DIY, drum survival, percussion exercise classes and the drumming world championships. The cast of 10 burst on to stage for this high-energy and incredibly loud display of drumming at its best.\n\n \n\nWhat follows is more of a theatrical experience than a musical one – with set changes every few minutes and performers who play everything from marimbas and maracas to triangles and tom-toms. It combines music, dancing, visual effects and even has a sense of humour. It made me wish I was a little better at banging things with a stick.','Southern Echo','','inherit','closed','open','','458-revision','','','2012-02-25 13:23:56','2012-02-25 13:23:56','',458,'http://www.ethanlewismaltby.com/Home/458-revision/',0,'revision','',0),(460,1,'2012-02-25 13:26:43','2012-02-25 13:26:43','Brighton Argus –  Theatre Royal,Brighton\r\n\r\n \r\n\r\nA Different Drum\r\n\r\n \r\n\r\nThe ten talented percussionists of Noise Ensemble provided an evening that not only fused remarkable sound with brilliant colours but also wove into the routines extraordinary choreographed movement. At times the fervour of the young players echoed the tribal rituals of Africa and theSouth Seas. Every conceivable variety of drum was used along with anything else that could be struck, scraped or shaken. These were backed on occasions by guitar and a soundtrack of electronic music which had an ethereal quality.\r\n\r\n \r\n\r\nThe evening was not all heavy passion – it was laced with gentleness and humour. Subtle and tender sounds came from such instruments as the vibraphone, the xylophone and even the humble triangle, in all its differing sizes. Humour pervaded the evening with a witty send-up of satellite TV channels depicted on a screen at the rear of the stage and several comic numbers. These included a mime using different sounds for various body movements , the boredom of the percussion section as they awaited their brief moments of glory at the end of a symphony and a number where the drummers chased and played their instruments which took on a life of their own as they flew around the stage.\r\n\r\n \r\n\r\nIn highlighting the percussion instruments normally relegated to the back of an orchestra, director and composer, Ethan Lewis Maltby has created a dazzling showcase for these Cinderella instruments. All the instruments shone but the stars of the evening were the drums which throbbed and pulsated throughout. The response of the audience showed that the evening, if you will forgive the pun, was a thumping great success.','Brighton Argus','On Noise Ensemble... \"In highlighting the percussion instruments normally relegated to the back of an orchestra, director and composer, Ethan Lewis Maltby has created a dazzling showcase for these Cinderella instruments. The response of the audience showed that the evening, if you will forgive the pun, was a thumping great success.\"','publish','closed','closed','','brighton-argus','','','2015-06-18 20:15:20','2015-06-18 20:15:20','',0,'http://www.ethanlewismaltby.com/Home/?p=460',0,'post','',0),(461,1,'2012-02-25 13:25:58','2012-02-25 13:25:58','Brighton Argus –  Theatre Royal,Brighton\n\n \n\nA Different Drum\n\n \n\nThe ten talented percussionists of Noise Ensemble provided an evening that not only fused remarkable sound with brilliant colours but also wove into the routines extraordinary choreographed movement. At times the fervour of the young players echoed the tribal rituals of Africa and theSouth Seas. Every conceivable variety of drum was used along with anything else that could be struck, scraped or shaken. These were backed on occasions by guitar and a soundtrack of electronic music which had an ethereal quality.\n\n \n\nThe evening was not all heavy passion – it was laced with gentleness and humour. Subtle and tender sounds came from such instruments as the vibraphone, the xylophone and even the humble triangle, in all its differing sizes. Humour pervaded the evening with a witty send-up of satellite TV channels depicted on a screen at the rear of the stage and several comic numbers. These included a mime using different sounds for various body movements , the boredom of the percussion section as they awaited their brief moments of glory at the end of a symphony and a number where the drummers chased and played their instruments which took on a life of their own as they flew around the stage.\n\n \n\nIn highlighting the percussion instruments normally relegated to the back of an orchestra, director and composer, Ethan Lewis Maltby has created a dazzling showcase for these Cinderella instruments. All the instruments shone but the stars of the evening were the drums which throbbed and pulsated throughout. The response of the audience showed that the evening, if you will forgive the pun, was a thumping great success.','Brighton Argus','','inherit','closed','open','','460-revision','','','2012-02-25 13:25:58','2012-02-25 13:25:58','',460,'http://www.ethanlewismaltby.com/Home/460-revision/',0,'revision','',0),(462,1,'2012-02-25 13:26:43','2012-02-25 13:26:43','Brighton Argus –  Theatre Royal,Brighton\r\n\r\n \r\n\r\nA Different Drum\r\n\r\n \r\n\r\nThe ten talented percussionists of Noise Ensemble provided an evening that not only fused remarkable sound with brilliant colours but also wove into the routines extraordinary choreographed movement. At times the fervour of the young players echoed the tribal rituals of Africa and theSouth Seas. Every conceivable variety of drum was used along with anything else that could be struck, scraped or shaken. These were backed on occasions by guitar and a soundtrack of electronic music which had an ethereal quality.\r\n\r\n \r\n\r\nThe evening was not all heavy passion – it was laced with gentleness and humour. Subtle and tender sounds came from such instruments as the vibraphone, the xylophone and even the humble triangle, in all its differing sizes. Humour pervaded the evening with a witty send-up of satellite TV channels depicted on a screen at the rear of the stage and several comic numbers. These included a mime using different sounds for various body movements , the boredom of the percussion section as they awaited their brief moments of glory at the end of a symphony and a number where the drummers chased and played their instruments which took on a life of their own as they flew around the stage.\r\n\r\n \r\n\r\nIn highlighting the percussion instruments normally relegated to the back of an orchestra, director and composer, Ethan Lewis Maltby has created a dazzling showcase for these Cinderella instruments. All the instruments shone but the stars of the evening were the drums which throbbed and pulsated throughout. The response of the audience showed that the evening, if you will forgive the pun, was a thumping great success.','Brighton Argus','On Noise Ensemble... \"In highlighting the percussion instruments normally relegated to the back of an orchestra, director and composer, Ethan Lewis Maltby has created a dazzling showcase for these Cinderella instruments. The response of the audience showed that the evening, if you will forgive the pun, was a thumping great success.\"','inherit','closed','open','','460-revision-2','','','2012-02-25 13:26:43','2012-02-25 13:26:43','',460,'http://www.ethanlewismaltby.com/Home/460-revision-2/',0,'revision','',0),(463,1,'2011-02-01 13:28:17','2011-02-01 13:28:17','At The Theatre.co.uk - June 2006\r\n\r\n \r\n\r\nA show for everyone, especially those fond of percussion!\r\n\r\n \r\n\r\nA supreme mix of percussion, drama, dance and comedy; this vibrant show bursts on to the stage with raw energy. The show opens amidst a smoke screen, and with its highly animated performers, the show erupts with a fusion of powerful drumbeats.\r\n\r\n \r\n\r\nConsisting of a variety of music, instruments ranging from tambourines to triangles as well as a wide range of drums, the talent of the vigorous performers is more than impressive. With a variety of music, the show cleverly incorporates comedy sketches to suit every composition; as well as a video screen background introducing the characters whilst comically presenting the world of drumming. The performers extensively use the stage space with ferocious movement, whilst the instruments almost transform into characters themselves.\r\n\r\nAlso visually pleasing, the performers depict an impressive visual spectacle during every musical piece, making the show not only rewarding to hear, but also magnificent to watch. With epic beats and a stormy score, the show borders apocalyptic. This masterfully choreographed show leaves the audience in awe. With an impressive range of instruments and 10 incredibly talented and energetic performers, this fast and furious show is a drumming delight.','At The Theatre.co.uk','On Noise Ensemble... \"Also visually pleasing, the performers depict an impressive visual spectacle during every musical piece, making the show not only rewarding to hear, but also magnificent to watch. With epic beats and a stormy score, the show borders apocalyptic. \"','publish','closed','closed','','at-the-theatre-co-uk','','','2015-06-18 20:15:21','2015-06-18 20:15:21','',0,'http://www.ethanlewismaltby.com/Home/?p=463',0,'post','',0),(464,1,'2012-02-25 13:27:28','2012-02-25 13:27:28','At The Theatre.co.uk - June 2006\n\n \n\nA show for everyone, especially those fond of percussion!\n\n \n\nA supreme mix of percussion, drama, dance and comedy; this vibrant show bursts on to the stage with raw energy. The show opens amidst a smoke screen, and with its highly animated performers, the show erupts with a fusion of powerful drumbeats.\n\n \n\nConsisting of a variety of music, instruments ranging from tambourines to triangles as well as a wide range of drums, the talent of the vigorous performers is more than impressive. With a variety of music, the show cleverly incorporates comedy sketches to suit every composition; as well as a video screen background introducing the characters whilst comically presenting the world of drumming. The performers extensively use the stage space with ferocious movement, whilst the instruments almost transform into characters themselves.\n\nAlso visually pleasing, the performers depict an impressive visual spectacle during every musical piece, making the show not only rewarding to hear, but also magnificent to watch. With epic beats and a stormy score, the show borders apocalyptic. This masterfully choreographed show leaves the audience in awe. With an impressive range of instruments and 10 incredibly talented and energetic performers, this fast and furious show is a drumming delight.','At The Theatre.co.uk','','inherit','closed','open','','463-revision','','','2012-02-25 13:27:28','2012-02-25 13:27:28','',463,'http://www.ethanlewismaltby.com/Home/463-revision/',0,'revision','',0),(465,1,'2012-02-25 13:28:17','2012-02-25 13:28:17','At The Theatre.co.uk - June 2006\r\n\r\n \r\n\r\nA show for everyone, especially those fond of percussion!\r\n\r\n \r\n\r\nA supreme mix of percussion, drama, dance and comedy; this vibrant show bursts on to the stage with raw energy. The show opens amidst a smoke screen, and with its highly animated performers, the show erupts with a fusion of powerful drumbeats.\r\n\r\n \r\n\r\nConsisting of a variety of music, instruments ranging from tambourines to triangles as well as a wide range of drums, the talent of the vigorous performers is more than impressive. With a variety of music, the show cleverly incorporates comedy sketches to suit every composition; as well as a video screen background introducing the characters whilst comically presenting the world of drumming. The performers extensively use the stage space with ferocious movement, whilst the instruments almost transform into characters themselves.\r\n\r\nAlso visually pleasing, the performers depict an impressive visual spectacle during every musical piece, making the show not only rewarding to hear, but also magnificent to watch. With epic beats and a stormy score, the show borders apocalyptic. This masterfully choreographed show leaves the audience in awe. With an impressive range of instruments and 10 incredibly talented and energetic performers, this fast and furious show is a drumming delight.','At The Theatre.co.uk','On Noise Ensemble... \"Also visually pleasing, the performers depict an impressive visual spectacle during every musical piece, making the show not only rewarding to hear, but also magnificent to watch. With epic beats and a stormy score, the show borders apocalyptic. \"','inherit','closed','open','','463-revision-2','','','2012-02-25 13:28:17','2012-02-25 13:28:17','',463,'http://www.ethanlewismaltby.com/Home/463-revision-2/',0,'revision','',0),(466,1,'2012-02-24 18:01:46','2012-02-24 18:01:46','Long after the smoke has drifted from the battlefield, audiences will remember Courtenay.\r\n\r\nThis musical plucked from the Kentish history books - and fashioned into a sophisticated entertainment by a composer and lyricist relatively new to the genre – deserves its place on a wider stage.\r\n\r\nBy turns exciting and tender, thought-provoking and uplifting, Courtenay is set around 20 years after the Peterloo massacre and looks behind the curious story of the last battle to be fought on English soil and makes a cracking, three-dimensional show of it. Composer, orchestrator and musical director, Ethan Lewis Maltby, not yet 30 but nevertheless a self-confessed fan of the swashbuckling era, has sewn a rich seam of interwoven themes throughout the two acts. His music hits spot.\r\n\r\nWhile paying plentiful homage to his first musical love, percussion, the score has pace, vitality and, dare I say it, hummability and while that may not be fashionable it certainly helps to convince ticket-buyers that they have had their money’s worth. See a show and take a tune away with you is no bad slogan even for a modern musical.\r\n\r\nEach of the central characters in Courtenay has a haunting theme of his or her own which blend to great effect at moments of tenderness, for this show is not all about dreams of the 19th century working man finding his true worth under the sleety, unforgiving gaze of establishment figures.\r\n\r\nLyricist Christopher Neame has taken a complex subject and given a perspective to Courtenay\'s story that many historians have discarded in favour of a simplistic view that the protagonist was mad and all his followers simple. The lyrics, particularly those given to Courtenay are intelligent without being polemical.\r\n\r\nAt the opening at Canterbury’s Marlowe Theatre on Thursday it was hard to find any chinks in this emotive story of one man\'s slide from visionary enthusiasm to self-delusion and destruction. There were some technical problems, chiefly with the sound balance, but the principals and ensemble worked together to produce a first night to be proud of.\r\n\r\nThe show is fortunate in having a trio of voices at the top that would match the best the West End has to offer. Loren Geeting as Courtenay, Renée Salewski as the object of his desire, Sarah Culver and David Wyatt as Nicholas Mears, the lover cast aside by Culver for Courtenay’s more dazzling attractions, are a class act. Wyatt has a voice that we will hear again and again if the scouts are doing their job and Geeting and Salewski both live up to their credentials.\r\n\r\nLindsey Mack as the Canterbury Marshal, Captain Townsend, cuts a dash darkly as the man who is out to thwart Courtenay\'s egalitarian ambitions. His presence is like that of a sinister crow. Antonia Bond generates tenderness as the wife Courtenay left behind, struggling to understand her husband’s wild side and Anthony Garner provides a solid presence as the narrator Everyman who guides the audience, many of whom will be unfamiliar with the story, carefully and unobtrusively.\r\n\r\nSet design is also instrumental to the success of this show. Veteran film and TV designer Roy Stannard, a newcomer to the theatre whose credits include David Lean\'s Lawrence of Arabia, has produced a simple, yet effective raked platform in which most of the action is concentrated, focusing the attention perfectly.\r\n\r\nAll this is overseen by a reaper, a simple agricultural machine seen as the means by which the landowner will emasculate the labourer.\r\n\r\nAs the show opens, the machine, cast as the grim reaper, dominates a stark scene as the countrysiders who will come to follow Courtenay, scrape a living from the soil while sinister clouds drift across the landscape. The climate of fear is brought home by blood-red effects schemed by Ben M Rogers, a lighting designer with many West End and international credits to his name, whose skills help to create Courtenay\'s many memorable moods.\r\n\r\nThis homespun show is something Kent can be proud of and one that audiences anywhere would appreciate. Surely local history was never this alive, or so worthy of the standing ovation it got on Thursday.\r\n\r\nRussell Flint','Kent on Sunday','\"By turns exciting and tender, thought-provoking and uplifting, Courtenay is set around 20 years after the Peterloo massacre and looks behind the curious story of the last battle to be fought on English soil and makes a cracking, three-dimensional show of it. Composer, orchestrator and musical director, Ethan Lewis Maltby, not yet 30 but nevertheless a self-confessed fan of the swashbuckling era, has sewn a rich seam of interwoven themes throughout the two acts. His music hits spot.\"','inherit','closed','open','','225-revision-7','','','2012-02-24 18:01:46','2012-02-24 18:01:46','',225,'http://www.ethanlewismaltby.com/Home/225-revision-7/',0,'revision','',0),(467,1,'2012-02-06 14:05:08','2012-02-06 14:05:08','Touring two prominent south east theatres and focusing on Kent\'s heritage creates a sense of identity for local audiences. However, its appeal would undoubtedly attract a wider audience should Bright Start Productions, in association with the Stag Theatre, Sevenoaks, choose to lengthen their tour. The plot reveals the impulsive Sir William Courtenay, revolutionary and suspected madman. With the energetic strains of Les Miserables, the large cast is headed by Loren Geeting in the title role. It is no surprise Geeting has won awards for his voice as he commands centre stage in both voice and stature. With a Macheath-like charm, Courtenay seduces local protester Sarah Culver (Renée Salewski) though the relationship does not lessen the action. Salewski appears childlike yet her voice reveals a maturity and control demanded of a lead role. Supporting character Katherine Tom (Antonia Bond), Courtenay\'s forgotten wife, appears fleetingly yet captures the sense of the wronged party. Sarah\'s sweetheart Nicholas Mears, played by David Wyatt, is well cast as tragically young and impulsive. Although the scenes seemed more like montages, Christopher Neame\'s script is a good balance of action and romance. George Roman directs and Ethan Lewis Maltby\'s score is beautifully written. This musical sees some spectacular conflict scenes thanks to Paul Romang\'s fight arrangement and the East Kent Living History and Re-Enactment Unit, in full uniform and firing as though their lives really did depend upon it.','The Stage','\"Christopher Neame\'s script is a good balance of action and romance. George Roman directs and Ethan Lewis Maltby\'s score is beautifully written. This musical sees some spectacular conflict scenes thanks to Paul Romang\'s fight arrangement and the East Kent Living History and Re-Enactment Unit, in full uniform and firing as though their lives really did depend upon it.\"','inherit','closed','open','','188-revision-8','','','2012-02-06 14:05:08','2012-02-06 14:05:08','',188,'http://www.ethanlewismaltby.com/Home/188-revision-8/',0,'revision','',0),(468,1,'2012-02-24 18:03:33','2012-02-24 18:03:33','It is not very often that one gets to see a world premiere, especially a world premiere in Blackpool, so we were delighted to be able to go and see the first ever performance of the new percussion based musical DrumChasers at the Blackpool Grand Theatre. Having not seen the previous “Noise Ensemble” we really did not know what to expect and went along with completely open minds. Think Ultravox (John Foxx version) do Coppelia, Doctor Who does West Side story and the Terminator meets Les Mis and you’re part way there.\r\n\r\nOddly enough, the caretaker - Mr Bennett - who starts off looking like a bedraggled Blakey out of “On The Buses” -ends up the hero in this tale of factions of warring musicians from another world, which is delightfully narrated by an absently bodied Stephen Fry. Apart from Fry’s outlining of the story, there are no words at all – no dialogue, no singing, more akin to a ballet in fact, relying purely on expressive dance routines and plenty of percussion as the story is told through a succession of musical numbers of varying dramatic gravitas. But this is not just two hours of mindless heavy drumming by any means. In a well balanced score that could easily grace a Hollywood sci fi blockbuster, we have a drummers duel, a piece played solely on the triangle and a romantic glockenspiel moment . There are several enchanting xylophone melodies – bringing to mind dreamy images of tropical rain forests or trickling streams or wherever your own thoughts might take you, carried off by the music.\r\n\r\nAwesome! Spellbinding! Magical! DrumChasers puts you in touch with the primitive being inside you, and in two of the numbers the audience were invited to join in. We loved every minute – from start to finish a fantastic fairytale. Marvellous choreography – the grim set and the war scenes were reminiscent of Les Miserables. Superb performances from talented and versatile musicians/dancers. If only we could somehow learn to harness the energy generated by the dynamic performers on the set of DrumChasers we could indeed save the world from nuclear meltdown. This is not mainstream theatre by any means but all the same absolutely unmissable. Please go and see it.','Best Kept Secrets','Awesome! Spellbinding! Magical!...There are several enchanting xylophone melodies – bringing to mind dreamy images of tropical rain forests or trickling streams or wherever your own thoughts might take you, carried off by the music.','inherit','closed','open','','186-revision-4','','','2012-02-24 18:03:33','2012-02-24 18:03:33','',186,'http://www.ethanlewismaltby.com/Home/186-revision-4/',0,'revision','',0),(469,1,'2012-02-24 18:03:00','2012-02-24 18:03:00','Review by Peter Lathan (2011)\r\n\r\nThe advertising for DrumChasers promises \"an evening quite unlike anything you’ve seen before.\" It is, we are told, \"a musical without words, but with drums.\"\r\n\r\n\r\nIt\'s a percussion show, from drum kit to triangle, from gong to xylophone. A cast of eleven (plus voice-over by Stephen Fry) play their carefully and tightly choreographed way through a variant on the Romeo and Juliet story set in a parallel world, Noiseland, which somehow bursts into our world in an old concert hall where caretaker Mr Bennett, played by Jack Warner, looks after the instruments stored there. He is to be the instrument (pun intended) which solves Noiseland\'s age-old problems and bringing back peace.\r\n\r\nAnd that\'s not a spoiler: it\'s in the advertising!\r\n\r\nThis could be the recipe for something cringingly self-indugent, and that feeling was exacerbated by the fact that, because I arrived early and was on my own for this show, I read the programme before it started. There, on the first inside page, was an introduction, written in verse which could have been penned by that master of the appalling rhyme, William McGonagall. My heart sank!\r\n\r\n(Those who don\'t know McGonagall really should look at McGonagall Online and marvel!)\r\n\r\nIf I say that, about a third of the way through the first act, these words are spoken by Stephen Fry, you will realise - as I did at that moment - that this is not a show that takes itself too seriously. Indeed, it is shot through with self-deprecating humour, subverting any expectation that we are going to get a tragedy - or even a melodrama. And it gets that balance between humour and the seriousness required to interest us in the story exactly right.\r\n\r\nWhat DrumChasers actually is is very entertaining, even for those who are not particularly interested in percussion. The skill, talent and commitment of the performers are amazing and the lighting - inevitably very rock concert influenced - impressive. The movement of the instruments on, off and around the stage (by the cast) is smooth and quick and the costumes and make-up were close to but not exactly of this world, nicely contrasted with Mr Bennett\'s brown coat and flat cap. I did wonder if the sticks which the Noise Wrangler uses to control her people were meant to remind us of Jedi light sabres. They certainly did me.\r\n\r\nBut it is the performances which will stick in the memory. There was a number (I can\'t think of any other word) in which two opposing faction members fought each other, circling back and forth round two xylophones placed centrestage and never missing a note or even for a second losing their confrontational body language and expressions. And a comic highlight was a duel between two triangle playing cast members.\r\n\r\nGreat fun!','Great British Theatre','\"What DrumChasers actually is is very entertaining, even for those who are not particularly interested in percussion. The skill, talent and commitment of the performers are amazing and the lighting - inevitably very rock concert influenced - impressive. \"','inherit','closed','open','','184-revision-5','','','2012-02-24 18:03:00','2012-02-24 18:03:00','',184,'http://www.ethanlewismaltby.com/Home/184-revision-5/',0,'revision','',0),(470,1,'2012-02-24 18:03:57','2012-02-24 18:03:57','WHAT A Show, Drumchasers has certainly promised a great evenings entertainment in Torquay – This is something that you’ve NEVER Seen before, it is a Musical, without words – but a Hell of a lot of drums!!\r\n\r\nFeaturing the Voice of Stephen Fry, this show has everything, Music, Action, Comedy, Fun, Energy! It was immense. I was so glad to be able to see this show in Torquay, it was a shame to see that the 1,500 seater venue was only a third full, which was a real shame, as the amount of energy that each cast member put into this show – was totally amazing.\r\n\r\nThe music was just great listening, and certainly put a smile on your face watching, my mother in fact took a short video of the show, and I hope that we’re not breaching any copyright laws, but I feel that other people should see HOW amazing this show actually is.\r\n\r\nThe show features all percussions from a Triangle to a Drum, and an amazing 10 minute piece to a Xylophone. A Cast of 11 play with their hearts content, this amazing choreographed production though a Romeo and Juliet story set in ‘Noiseland’ world, which expands into the Human world of an old Theatre where the caretaker ‘Mr Bennett’ played by Jack Warner looks after the instruments which are stored there, he’s the one that solves the way which brings back the peace to everyone at Noiseland.\r\n\r\nDrumchasers is an entertaining piece of work, and the skill which is used throughout the show, not just playing the instruments by dancing with them, and making the show come alive is amazing. The Sound was superb, and the Lighting – Wow, It was FANTASTIC! The lighting designer for this show must be very proud, and I Can imagine very fun to design.\r\n\r\nThis is a NEW Show, and I understand why there maybe wasn’t so many people – But, if this show comes near you, it’s 100% worth a watch! Buy Tickets!!\r\n\r\nPLEASE Come back to Torquay Drumchasers!','Talk Torbay','\"The music was just great listening...It was immense...\"','inherit','closed','open','','182-revision-4','','','2012-02-24 18:03:57','2012-02-24 18:03:57','',182,'http://www.ethanlewismaltby.com/Home/182-revision-4/',0,'revision','',0),(471,1,'2012-02-24 18:04:12','2012-02-24 18:04:12','By Angie Johnson\r\n\r\nDrumchasers is a fusion of everything that’s great about live performance. It has terrific music and dancing, an intriguing set and one of the best lighting designs I’ve ever seen in the theatre. Above all it has a unique idea that fascinates while it entertains. Featuring every percussion instrument you can think of, and more, this is one fabulous evening out.\r\n\r\nThe story that frames all this expertise revolves around Mr Bennett (an assured performance by Jack Warner offering plenty of comic relief), an elderly Concert Hall caretaker looking after the instrument store, which one night is magically subsumed into the percussive otherworld of the Drumchasers. Energy is the keynote of this show — powerful drumming and dance create an epic world where an eternal battle between two opposing forces is played out with a myriad of different percussion instruments. But as with all good epics, there is also a love story amid the conflict, which allows for the interweaving of sequences using more gentle sounds such as the marimba. It’s a cleverly wrought plot that enables great variation in the sound and dance sequences.\r\n\r\nSometimes it’s loud, stirring or martial, sometimes funny, softly romantic or sad, but it’s always well realised. Importantly, it’s a show that takes its themes seriously but never veers into the pretentious. This is helped by the whimsy-free narration provided by Stephen Fry. The cast of ten are all terrific in both the playing and dancing departments. Each of them have their own intriguing character and accomplished special sequences, and when they come together as an ensemble they are simply mind-blowing. The choreography by Georgina King works fantastically well with the overall vision of Ethan Lewis Maltby, the composer, creator and director.\r\n\r\nThere is also a bit of non-threatening audience participation (synchronised clapping!) which was great fun and made us all feel part of this truly spectacular event. If ever a show deserved a run in the West End it’s this one.','The Oxford Times','\"Sometimes it’s loud, stirring or martial, sometimes funny, softly romantic or sad...simply mind-blowing...\"','inherit','closed','open','','176-revision-6','','','2012-02-24 18:04:12','2012-02-24 18:04:12','',176,'http://www.ethanlewismaltby.com/Home/176-revision-6/',0,'revision','',0),(472,1,'2012-02-24 18:04:28','2012-02-24 18:04:28','By Vera Fletcher\r\n\r\nDrumChasers sells itself as an explosion of sound and light with a story of romance, rivalry and rhythm and it doesn\'t disappoint. Think Romeo and Juliet with drumsticks (and without the poison). The synopsis of the show tells the story of Mr Bennett, a caretaker in an old concert hall who looks after the instruments stored within its walls. However, one night, something happens, something loud and something otherworldly and he is transported to the land of the DrumChasers. I felt this premise got a bit lost within the first ten minutes, Mr Bennett being swiftly cast aside from view and frantic, captivating drumming prevailed. Just when I had almost written off the storyline as a feeble excuse for a night of intoxicating percussion, the soothing tones of Stephen Fry stepped in to narrate and educate the audience on The Noiseland Tale. Aside from the intermittent guidance of Mr Fry this story was told solely through the use of incredibly skilled drumming, expressive dance and imaginative lighting. Armed with drumsticks as weapons, the fight scenes made convincing battles with emotional integrity. The underlying love story was a particular highlight which needed no explanation, proving some of the best stories are wordless.\r\n\r\nThe performance was polished and professional and the story gained in momentum and strength as the show progressed. Mr Bennett too, being given a bit more stage time to ingrain himself in the performance. The drumming was electric and the energy was infectious, at times it took great pains not to jump up and join in from the aisles. Thankfully towards the shows end there was opportunity to participate rhythmically from the safety of your seat which culminated in a loud surge of release from the audience of previously bottled toe tapping and hand clapping.\r\n\r\nAlong the same vein, if you liked Stomp you\'ll love DrumChasers, an uplifting, enjoyable night out even for those with no rhythm.','RemoteGoat','\"A night of intoxicating percussion...the energy was infectious, at times it took great pains not to jump up and join in from the aisles.\"','inherit','closed','open','','174-revision-5','','','2012-02-24 18:04:28','2012-02-24 18:04:28','',174,'http://www.ethanlewismaltby.com/Home/174-revision-5/',0,'revision','',0),(473,1,'2012-02-24 18:04:51','2012-02-24 18:04:51','By Jonathan Wilkes\r\n\r\nNoise Ensemble’s epic musical DrumChasers, replacing vocals with percussion, is an explosive display of sound and light. Eleven virtuosic performers with endless energy and talent offered a mesmerising experience and a beautiful story.\r\n\r\nCaretaker at a concert hall, Mr Bennett (Jack Warner), witnesses a doorway opening to a dystopian world where people play percussion instruments, inlcuding drums, xylophones and triangles, as communication. And Noiseland’s inhabitants play extremely well, never missing a beat.\r\n\r\nA Dr Seuss-esque narration by Stephen Fry tells us they are caught in an age-old feud. War is prevented only by the mystical powers of the Noise Wrangler and her purple lightsabres. A blossoming Romeo and Juliet romance and a discovery by Mr Bennett however could lead to peace.\r\n\r\nThe truly spectacular DrumChasers leaves one in awe of how every element worked in exquisite harmony. It perfectly balanced gravitas and self-deprecation so the audience (which should have been bigger) never doubted Noise Ensemble’s soulful tale.\r\n\r\nThe melodious music, accompanied by a spellbinding orchestral and electric score, was extraordinary: powerful, stentorian drumming quickly followed by more melodious, playful flourishes on xylophones and glockenspiels.\r\n\r\nIt had action, romance, poignancy and comedy – a pitch-black performance with glow-in-the-dark levitating drums being especially funny. The industrial set and apocalyptic costumes, and a literally breath-taking lighting design, really enhanced the production.\r\n\r\nSpecial mention must go to Georgina King for the exhilarating choreography and to composer, director and creator Ethan Lewis Maltby.\r\n\r\nHis resplendent production is a profoundly affecting and memorable theatrical experience.\r\n\r\nHere’s hoping the doorway to Noiseland opens again.','The York Press','The melodious music, accompanied by a spellbinding orchestral and electric score, was extraordinary: powerful...','inherit','closed','open','','172-revision-5','','','2012-02-24 18:04:51','2012-02-24 18:04:51','',172,'http://www.ethanlewismaltby.com/Home/172-revision-5/',0,'revision','',0),(474,1,'2012-02-24 18:05:25','2012-02-24 18:05:25','DrumChasers at the Civic – A New Masterpiece\r\n\r\nBy Andy Bramfitt\r\n\r\nYou know, with all the social media, tweeting, facebook etc I honestly thought that the days of finding a new show for which I had no ideas, expectations or pre-conceptions was sadly over. (To tell you a secret, all my life I have wished I had been in the audience for the first showing of the Rocky Horror Show, way back before the midnight costume parties and the huge cult following but alas no, I was destined just to be a follower.)\r\n\r\nWell after tonight I honestly believe that in years to come I can stand proud and say “Yes, I saw it before they took the West End by storm”.\r\n\r\nEthan Lewis Maltby’s DrumChasers is unlike any other show I have ever seen; a mesmerising blend of unbelievable drumming coupled with beautiful dancing all set to a futuristic tale of power, rivalry and love. Actually, to say its all drumming is doing a grave dis-service to the whole percussion experience including some truly beautiful glokenspiel melodies. This is story-telling-without-words at its best and it had me hooked from the first beat to the very last.\r\n\r\nGeorgina King’s choreography is wonderfully synchronised, evocotive and yet simple, but it’s not until you really watch the stage that you realise that it’s no mean feat to match expressive dance with demanding drumming & exacting rhythms.\r\n\r\nMake no mistake, this is not a show of 10 drummers simply stood on stage; each character has their own story, their own personality which they bring to the fore through genuine acting (there is no dialogue at all which makes the story telling even more engaging) and very quickly you understand the premise of the show, even before Stephen Fry’s narration of the Noiseland Tale (written by Jenna Donnelly) comes in about half way through act 1.\r\n\r\nThe story, without wanting to give too much away, is about a race of people, the Drumchasers from Noiseland, who, through the loss of a worshipped relic become fractured and warring. This relic finds it’s way to earth and is discovered by Mr Bennet, a stage caretaker (played wonderfully by somebody’s grandad – actually its none other than Mr Jack Warner). His unwitting discovery prompts the Drumchasers and their guardian peacekeeper Weckl (deliciously played by the vampish Rachel Stock) to come to earth and continue their rivalry. This is done through what I can only describe as battle drumming, a sort of dance off using percussion.\r\n\r\nThrough all of this we are treated to the impish mischief of Gene (played by Amy Kelly), the macho posturing of Blades & Vinnie (James Hulme & James Godfrey) and an age old story of two lovers from the opposite sides. Playing out like a futuristic West Side Story, Buddy (a very dishy Simon Morgan-Thomas, according to my daughter) and Eve (a very cute Stephanie Clarke) try to unite the two sides but as with all torn-lovers tales, it is far from easy.\r\n\r\nAs the story works towards its conclusion the beats become more frantic, the surprises get bigger and the choreography even more impressive (there’s a great scene set in almost complete darkness – honest, believe me!). I won’t spoil things by telling you the rest of the show, ‘cept to say that you should really seek out this production, take the family and go lose yourself in the rhythm.\r\n\r\nAt the end, once the final curtain came down, there was a quiet sense of awe in the audience, almost like a collective reasoning, like we had shared a moment. We probably had as no-one truly knew what to expect, yet everyone agreed it was awesome.\r\n\r\nThere have been some iconic shows which define or even create their own genres; Riverdance, Cirque de Soliel, The Mousetrap, We Will Rock You – I believe that we have seen another tonight which could do the same – it truly is that special that I urge anyone to treat themselves and go and see it this weekend.','What\'s On Northeast','\"It had me hooked from the first beat to the very last.\"','inherit','closed','open','','168-revision-21','','','2012-02-24 18:05:25','2012-02-24 18:05:25','',168,'http://www.ethanlewismaltby.com/Home/168-revision-21/',0,'revision','',0),(475,1,'2012-02-25 13:36:35','2012-02-25 13:36:35','By Jonathan Wilkes\r\n\r\nNoise Ensemble’s epic musical DrumChasers, replacing vocals with percussion, is an explosive display of sound and light. Eleven virtuosic performers with endless energy and talent offered a mesmerising experience and a beautiful story.\r\n\r\nCaretaker at a concert hall, Mr Bennett (Jack Warner), witnesses a doorway opening to a dystopian world where people play percussion instruments, inlcuding drums, xylophones and triangles, as communication. And Noiseland’s inhabitants play extremely well, never missing a beat.\r\n\r\nA Dr Seuss-esque narration by Stephen Fry tells us they are caught in an age-old feud. War is prevented only by the mystical powers of the Noise Wrangler and her purple lightsabres. A blossoming Romeo and Juliet romance and a discovery by Mr Bennett however could lead to peace.\r\n\r\nThe truly spectacular DrumChasers leaves one in awe of how every element worked in exquisite harmony. It perfectly balanced gravitas and self-deprecation so the audience (which should have been bigger) never doubted Noise Ensemble’s soulful tale.\r\n\r\nThe melodious music, accompanied by a spellbinding orchestral and electric score, was extraordinary: powerful, stentorian drumming quickly followed by more melodious, playful flourishes on xylophones and glockenspiels.\r\n\r\nIt had action, romance, poignancy and comedy – a pitch-black performance with glow-in-the-dark levitating drums being especially funny. The industrial set and apocalyptic costumes, and a literally breath-taking lighting design, really enhanced the production.\r\n\r\nSpecial mention must go to Georgina King for the exhilarating choreography and to composer, director and creator Ethan Lewis Maltby.\r\n\r\nHis resplendent production is a profoundly affecting and memorable theatrical experience.\r\n\r\nHere’s hoping the doorway to Noiseland opens again.','The York Press','On DrumChasers...\"The melodious music, accompanied by a spellbinding orchestral and electric score, was extraordinary: powerful...\"','inherit','closed','open','','172-revision-6','','','2012-02-25 13:36:35','2012-02-25 13:36:35','',172,'http://www.ethanlewismaltby.com/Home/172-revision-6/',0,'revision','',0),(476,1,'2012-02-25 13:30:23','2012-02-25 13:30:23','The Stage - Review of Courtenay.\r\n\r\nTouring two prominent south east theatres and focusing on Kent\'s heritage creates a sense of identity for local audiences. However, its appeal would undoubtedly attract a wider audience should Bright Start Productions, in association with the Stag Theatre, Sevenoaks, choose to lengthen their tour. The plot reveals the impulsive Sir William Courtenay, revolutionary and suspected madman. With the energetic strains of Les Miserables, the large cast is headed by Loren Geeting in the title role. It is no surprise Geeting has won awards for his voice as he commands centre stage in both voice and stature. With a Macheath-like charm, Courtenay seduces local protester Sarah Culver (Renée Salewski) though the relationship does not lessen the action. Salewski appears childlike yet her voice reveals a maturity and control demanded of a lead role. Supporting character Katherine Tom (Antonia Bond), Courtenay\'s forgotten wife, appears fleetingly yet captures the sense of the wronged party. Sarah\'s sweetheart Nicholas Mears, played by David Wyatt, is well cast as tragically young and impulsive. Although the scenes seemed more like montages, Christopher Neame\'s script is a good balance of action and romance. George Roman directs and Ethan Lewis Maltby\'s score is beautifully written. This musical sees some spectacular conflict scenes thanks to Paul Romang\'s fight arrangement and the East Kent Living History and Re-Enactment Unit, in full uniform and firing as though their lives really did depend upon it.','The Stage','On Courtenay... \"Christopher Neame\'s script is a good balance of action and romance. George Roman directs and Ethan Lewis Maltby\'s score is beautifully written. This musical sees some spectacular conflict scenes thanks to Paul Romang\'s fight arrangement and the East Kent Living History and Re-Enactment Unit, in full uniform and firing as though their lives really did depend upon it.\"','inherit','closed','open','','188-revision-9','','','2012-02-25 13:30:23','2012-02-25 13:30:23','',188,'http://www.ethanlewismaltby.com/Home/188-revision-9/',0,'revision','',0),(477,1,'2012-02-25 13:35:43','2012-02-25 13:35:43','By Angie Johnson\r\n\r\nDrumchasers is a fusion of everything that’s great about live performance. It has terrific music and dancing, an intriguing set and one of the best lighting designs I’ve ever seen in the theatre. Above all it has a unique idea that fascinates while it entertains. Featuring every percussion instrument you can think of, and more, this is one fabulous evening out.\r\n\r\nThe story that frames all this expertise revolves around Mr Bennett (an assured performance by Jack Warner offering plenty of comic relief), an elderly Concert Hall caretaker looking after the instrument store, which one night is magically subsumed into the percussive otherworld of the Drumchasers. Energy is the keynote of this show — powerful drumming and dance create an epic world where an eternal battle between two opposing forces is played out with a myriad of different percussion instruments. But as with all good epics, there is also a love story amid the conflict, which allows for the interweaving of sequences using more gentle sounds such as the marimba. It’s a cleverly wrought plot that enables great variation in the sound and dance sequences.\r\n\r\nSometimes it’s loud, stirring or martial, sometimes funny, softly romantic or sad, but it’s always well realised. Importantly, it’s a show that takes its themes seriously but never veers into the pretentious. This is helped by the whimsy-free narration provided by Stephen Fry. The cast of ten are all terrific in both the playing and dancing departments. Each of them have their own intriguing character and accomplished special sequences, and when they come together as an ensemble they are simply mind-blowing. The choreography by Georgina King works fantastically well with the overall vision of Ethan Lewis Maltby, the composer, creator and director.\r\n\r\nThere is also a bit of non-threatening audience participation (synchronised clapping!) which was great fun and made us all feel part of this truly spectacular event. If ever a show deserved a run in the West End it’s this one.','The Oxford Times','On DrumChasers... \"Sometimes it’s loud, stirring or martial, sometimes funny, softly romantic or sad...simply mind-blowing...\"','inherit','closed','open','','176-revision-7','','','2012-02-25 13:35:43','2012-02-25 13:35:43','',176,'http://www.ethanlewismaltby.com/Home/176-revision-7/',0,'revision','',0),(478,1,'2012-02-25 13:28:19','2012-02-25 13:28:19','At The Theatre.co.uk - June 2006\r\n\r\n \r\n\r\nA show for everyone, especially those fond of percussion!\r\n\r\n \r\n\r\nA supreme mix of percussion, drama, dance and comedy; this vibrant show bursts on to the stage with raw energy. The show opens amidst a smoke screen, and with its highly animated performers, the show erupts with a fusion of powerful drumbeats.\r\n\r\n \r\n\r\nConsisting of a variety of music, instruments ranging from tambourines to triangles as well as a wide range of drums, the talent of the vigorous performers is more than impressive. With a variety of music, the show cleverly incorporates comedy sketches to suit every composition; as well as a video screen background introducing the characters whilst comically presenting the world of drumming. The performers extensively use the stage space with ferocious movement, whilst the instruments almost transform into characters themselves.\r\n\r\nAlso visually pleasing, the performers depict an impressive visual spectacle during every musical piece, making the show not only rewarding to hear, but also magnificent to watch. With epic beats and a stormy score, the show borders apocalyptic. This masterfully choreographed show leaves the audience in awe. With an impressive range of instruments and 10 incredibly talented and energetic performers, this fast and furious show is a drumming delight.','At The Theatre.co.uk','On Noise Ensemble... \"Also visually pleasing, the performers depict an impressive visual spectacle during every musical piece, making the show not only rewarding to hear, but also magnificent to watch. With epic beats and a stormy score, the show borders apocalyptic. \"','inherit','closed','open','','463-revision-3','','','2012-02-25 13:28:19','2012-02-25 13:28:19','',463,'http://www.ethanlewismaltby.com/Home/463-revision-3/',0,'revision','',0),(479,1,'2012-02-25 13:36:59','2012-02-25 13:36:59','DrumChasers at the Civic – A New Masterpiece\r\n\r\nBy Andy Bramfitt\r\n\r\nYou know, with all the social media, tweeting, facebook etc I honestly thought that the days of finding a new show for which I had no ideas, expectations or pre-conceptions was sadly over. (To tell you a secret, all my life I have wished I had been in the audience for the first showing of the Rocky Horror Show, way back before the midnight costume parties and the huge cult following but alas no, I was destined just to be a follower.)\r\n\r\nWell after tonight I honestly believe that in years to come I can stand proud and say “Yes, I saw it before they took the West End by storm”.\r\n\r\nEthan Lewis Maltby’s DrumChasers is unlike any other show I have ever seen; a mesmerising blend of unbelievable drumming coupled with beautiful dancing all set to a futuristic tale of power, rivalry and love. Actually, to say its all drumming is doing a grave dis-service to the whole percussion experience including some truly beautiful glokenspiel melodies. This is story-telling-without-words at its best and it had me hooked from the first beat to the very last.\r\n\r\nGeorgina King’s choreography is wonderfully synchronised, evocotive and yet simple, but it’s not until you really watch the stage that you realise that it’s no mean feat to match expressive dance with demanding drumming & exacting rhythms.\r\n\r\nMake no mistake, this is not a show of 10 drummers simply stood on stage; each character has their own story, their own personality which they bring to the fore through genuine acting (there is no dialogue at all which makes the story telling even more engaging) and very quickly you understand the premise of the show, even before Stephen Fry’s narration of the Noiseland Tale (written by Jenna Donnelly) comes in about half way through act 1.\r\n\r\nThe story, without wanting to give too much away, is about a race of people, the Drumchasers from Noiseland, who, through the loss of a worshipped relic become fractured and warring. This relic finds it’s way to earth and is discovered by Mr Bennet, a stage caretaker (played wonderfully by somebody’s grandad – actually its none other than Mr Jack Warner). His unwitting discovery prompts the Drumchasers and their guardian peacekeeper Weckl (deliciously played by the vampish Rachel Stock) to come to earth and continue their rivalry. This is done through what I can only describe as battle drumming, a sort of dance off using percussion.\r\n\r\nThrough all of this we are treated to the impish mischief of Gene (played by Amy Kelly), the macho posturing of Blades & Vinnie (James Hulme & James Godfrey) and an age old story of two lovers from the opposite sides. Playing out like a futuristic West Side Story, Buddy (a very dishy Simon Morgan-Thomas, according to my daughter) and Eve (a very cute Stephanie Clarke) try to unite the two sides but as with all torn-lovers tales, it is far from easy.\r\n\r\nAs the story works towards its conclusion the beats become more frantic, the surprises get bigger and the choreography even more impressive (there’s a great scene set in almost complete darkness – honest, believe me!). I won’t spoil things by telling you the rest of the show, ‘cept to say that you should really seek out this production, take the family and go lose yourself in the rhythm.\r\n\r\nAt the end, once the final curtain came down, there was a quiet sense of awe in the audience, almost like a collective reasoning, like we had shared a moment. We probably had as no-one truly knew what to expect, yet everyone agreed it was awesome.\r\n\r\nThere have been some iconic shows which define or even create their own genres; Riverdance, Cirque de Soliel, The Mousetrap, We Will Rock You – I believe that we have seen another tonight which could do the same – it truly is that special that I urge anyone to treat themselves and go and see it this weekend.','What\'s On Northeast','On DrumChasers...\"It had me hooked from the first beat to the very last.\"','inherit','closed','open','','168-revision-22','','','2012-02-25 13:36:59','2012-02-25 13:36:59','',168,'http://www.ethanlewismaltby.com/Home/168-revision-22/',0,'revision','',0),(480,1,'2012-02-25 13:21:14','2012-02-25 13:21:14','Kentish Gazette – Marlowe Theatre,Canterbury\r\n\r\n \r\n\r\nDrumming up a storm of a show.\r\n\r\n \r\n\r\nThe drummers’ union was out in Canterbury in force last week with an awesome demonstration of percussion and orchestral drumming. My expectations were lowered by the presence of a poster quote, comparing it to the woeful cheese of Riverdance, but thankfully this was so much better.\r\n\r\nNoise Ensemble has grown from its beginnings as a small show at the Edinburgh Fringe to a wonderful show of dance and drums. Actually, mainly drums.\r\n\r\n \r\n\r\nThe 10 percussionists were playing the music ofCanterbury’s Ethan Lewis Maltby in a spectacular display of co-ordination and pure musicianship that had musicians such as myself cursing their overabundance of talent. Beautiful marimba and vibes’ playing mixed with martial snare and tom work and there were comedy interludes with flying drums and cable TV for drummers.\r\n\r\n \r\n\r\nWhy this show has not become as big a hit as rival Stomp, I can’t understand.\r\n\r\n \r\n\r\nReview by Chris Denham','Kentish Gazette','On Noise Ensemble... \"The 10 percussionists were playing the music ofCanterbury’s Ethan Lewis Maltby in a spectacular display of co-ordination and pure musicianship that had musicians such as myself cursing their overabundance of talent. Beautiful marimba and vibes’ playing mixed with martial snare and tom work and there were comedy interludes with flying drums and cable TV for drummers. Why this show has not become as big a hit as rival Stomp, I can’t understand.\"','inherit','closed','open','','454-revision-3','','','2012-02-25 13:21:14','2012-02-25 13:21:14','',454,'http://www.ethanlewismaltby.com/Home/454-revision-3/',0,'revision','',0),(481,1,'2012-02-25 13:44:23','2012-02-25 13:44:23','DrumChasers at the Civic – A New Masterpiece\r\n\r\nBy Andy Bramfitt\r\n\r\nYou know, with all the social media, tweeting, facebook etc I honestly thought that the days of finding a new show for which I had no ideas, expectations or pre-conceptions was sadly over. (To tell you a secret, all my life I have wished I had been in the audience for the first showing of the Rocky Horror Show, way back before the midnight costume parties and the huge cult following but alas no, I was destined just to be a follower.)\r\n\r\nWell after tonight I honestly believe that in years to come I can stand proud and say “Yes, I saw it before they took the West End by storm”.\r\n\r\nEthan Lewis Maltby’s DrumChasers is unlike any other show I have ever seen; a mesmerising blend of unbelievable drumming coupled with beautiful dancing all set to a futuristic tale of power, rivalry and love. Actually, to say its all drumming is doing a grave dis-service to the whole percussion experience including some truly beautiful glokenspiel melodies. This is story-telling-without-words at its best and it had me hooked from the first beat to the very last.\r\n\r\nGeorgina King’s choreography is wonderfully synchronised, evocotive and yet simple, but it’s not until you really watch the stage that you realise that it’s no mean feat to match expressive dance with demanding drumming & exacting rhythms.\r\n\r\nMake no mistake, this is not a show of 10 drummers simply stood on stage; each character has their own story, their own personality which they bring to the fore through genuine acting (there is no dialogue at all which makes the story telling even more engaging) and very quickly you understand the premise of the show, even before Stephen Fry’s narration of the Noiseland Tale (written by Jenna Donnelly) comes in about half way through act 1.\r\n\r\nThe story, without wanting to give too much away, is about a race of people, the Drumchasers from Noiseland, who, through the loss of a worshipped relic become fractured and warring. This relic finds it’s way to earth and is discovered by Mr Bennet, a stage caretaker (played wonderfully by somebody’s grandad – actually its none other than Mr Jack Warner). His unwitting discovery prompts the Drumchasers and their guardian peacekeeper Weckl (deliciously played by the vampish Rachel Stock) to come to earth and continue their rivalry. This is done through what I can only describe as battle drumming, a sort of dance off using percussion.\r\n\r\nThrough all of this we are treated to the impish mischief of Gene (played by Amy Kelly), the macho posturing of Blades & Vinnie (James Hulme & James Godfrey) and an age old story of two lovers from the opposite sides. Playing out like a futuristic West Side Story, Buddy (a very dishy Simon Morgan-Thomas, according to my daughter) and Eve (a very cute Stephanie Clarke) try to unite the two sides but as with all torn-lovers tales, it is far from easy.\r\n\r\nAs the story works towards its conclusion the beats become more frantic, the surprises get bigger and the choreography even more impressive (there’s a great scene set in almost complete darkness – honest, believe me!). I won’t spoil things by telling you the rest of the show, ‘cept to say that you should really seek out this production, take the family and go lose yourself in the rhythm.\r\n\r\nAt the end, once the final curtain came down, there was a quiet sense of awe in the audience, almost like a collective reasoning, like we had shared a moment. We probably had as no-one truly knew what to expect, yet everyone agreed it was awesome.\r\n\r\nThere have been some iconic shows which define or even create their own genres; Riverdance, Cirque de Soliel, The Mousetrap, We Will Rock You – I believe that we have seen another tonight which could do the same – it truly is that special that I urge anyone to treat themselves and go and see it this weekend.','What\'s On Northeast','On DrumChasers...\"It had me hooked from the first beat to the very last.\"','inherit','closed','open','','168-revision-23','','','2012-02-25 13:44:23','2012-02-25 13:44:23','',168,'http://www.ethanlewismaltby.com/Home/168-revision-23/',0,'revision','',0),(482,1,'2012-02-25 13:34:16','2012-02-25 13:34:16','Review by Peter Lathan (2011)\r\n\r\nThe advertising for DrumChasers promises \"an evening quite unlike anything you’ve seen before.\" It is, we are told, \"a musical without words, but with drums.\"\r\n\r\nIt\'s a percussion show, from drum kit to triangle, from gong to xylophone. A cast of eleven (plus voice-over by Stephen Fry) play their carefully and tightly choreographed way through a variant on the Romeo and Juliet story set in a parallel world, Noiseland, which somehow bursts into our world in an old concert hall where caretaker Mr Bennett, played by Jack Warner, looks after the instruments stored there. He is to be the instrument (pun intended) which solves Noiseland\'s age-old problems and bringing back peace.\r\n\r\nAnd that\'s not a spoiler: it\'s in the advertising!\r\n\r\nThis could be the recipe for something cringingly self-indugent, and that feeling was exacerbated by the fact that, because I arrived early and was on my own for this show, I read the programme before it started. There, on the first inside page, was an introduction, written in verse which could have been penned by that master of the appalling rhyme, William McGonagall. My heart sank!\r\n\r\n(Those who don\'t know McGonagall really should look at McGonagall Online and marvel!)\r\n\r\nIf I say that, about a third of the way through the first act, these words are spoken by Stephen Fry, you will realise - as I did at that moment - that this is not a show that takes itself too seriously. Indeed, it is shot through with self-deprecating humour, subverting any expectation that we are going to get a tragedy - or even a melodrama. And it gets that balance between humour and the seriousness required to interest us in the story exactly right.\r\n\r\nWhat DrumChasers actually is is very entertaining, even for those who are not particularly interested in percussion. The skill, talent and commitment of the performers are amazing and the lighting - inevitably very rock concert influenced - impressive. The movement of the instruments on, off and around the stage (by the cast) is smooth and quick and the costumes and make-up were close to but not exactly of this world, nicely contrasted with Mr Bennett\'s brown coat and flat cap. I did wonder if the sticks which the Noise Wrangler uses to control her people were meant to remind us of Jedi light sabres. They certainly did me.\r\n\r\nBut it is the performances which will stick in the memory. There was a number (I can\'t think of any other word) in which two opposing faction members fought each other, circling back and forth round two xylophones placed centrestage and never missing a note or even for a second losing their confrontational body language and expressions. And a comic highlight was a duel between two triangle playing cast members.\r\n\r\nGreat fun!','Great British Theatre','On DrumChasers...\" very entertaining, even for those who are not particularly interested in percussion. The skill, talent and commitment of the performers are amazing and the lighting - inevitably very rock concert influenced - impressive. \"','inherit','closed','open','','184-revision-6','','','2012-02-25 13:34:16','2012-02-25 13:34:16','',184,'http://www.ethanlewismaltby.com/Home/184-revision-6/',0,'revision','',0),(483,1,'2012-02-25 13:24:45','2012-02-25 13:24:45','Southern Echo – The Nuffield, Southampton\r\n\r\n \r\n\r\nForgive me for banging on about how good this is…\r\n\r\n \r\n\r\nIs there nothing this lot can’t do with a drum? After enjoying two hours of percussive genius from Noise Ensemble, I suspect not. You may think that is overly long for a show which is simply based on banging a big instrument with a stick. But there is so much more to it than that.\r\n\r\n \r\n\r\nWe were treated to all manner of things from drumstick throwing to seemingly flying drums and from spinning dance routines to comedy noise sketches. And the on-stage Noise TV screen was showing Drum DIY, drum survival, percussion exercise classes and the drumming world championships. The cast of 10 burst on to stage for this high-energy and incredibly loud display of drumming at its best.\r\n\r\n \r\n\r\nWhat follows is more of a theatrical experience than a musical one – with set changes every few minutes and performers who play everything from marimbas and maracas to triangles and tom-toms. It combines music, dancing, visual effects and even has a sense of humour. It made me wish I was a little better at banging things with a stick.','Southern Echo','On Noise Ensemble... \"Is there nothing this lot can’t do with a drum? After enjoying two hours of percussive genius from Noise Ensemble, I suspect not. You may think that is overly long for a show which is simply based on banging a big instrument with a stick. But there is so much more to it than that.\"','inherit','closed','open','','458-revision-2','','','2012-02-25 13:24:45','2012-02-25 13:24:45','',458,'http://www.ethanlewismaltby.com/Home/458-revision-2/',0,'revision','',0),(484,1,'2012-02-25 13:43:49','2012-02-25 13:43:49','At The Theatre.co.uk - June 2006\r\n\r\n \r\n\r\nA show for everyone, especially those fond of percussion!\r\n\r\n \r\n\r\nA supreme mix of percussion, drama, dance and comedy; this vibrant show bursts on to the stage with raw energy. The show opens amidst a smoke screen, and with its highly animated performers, the show erupts with a fusion of powerful drumbeats.\r\n\r\n \r\n\r\nConsisting of a variety of music, instruments ranging from tambourines to triangles as well as a wide range of drums, the talent of the vigorous performers is more than impressive. With a variety of music, the show cleverly incorporates comedy sketches to suit every composition; as well as a video screen background introducing the characters whilst comically presenting the world of drumming. The performers extensively use the stage space with ferocious movement, whilst the instruments almost transform into characters themselves.\r\n\r\nAlso visually pleasing, the performers depict an impressive visual spectacle during every musical piece, making the show not only rewarding to hear, but also magnificent to watch. With epic beats and a stormy score, the show borders apocalyptic. This masterfully choreographed show leaves the audience in awe. With an impressive range of instruments and 10 incredibly talented and energetic performers, this fast and furious show is a drumming delight.','At The Theatre.co.uk','On Noise Ensemble... \"Also visually pleasing, the performers depict an impressive visual spectacle during every musical piece, making the show not only rewarding to hear, but also magnificent to watch. With epic beats and a stormy score, the show borders apocalyptic. \"','inherit','closed','open','','463-revision-4','','','2012-02-25 13:43:49','2012-02-25 13:43:49','',463,'http://www.ethanlewismaltby.com/Home/463-revision-4/',0,'revision','',0),(485,1,'2012-02-25 13:42:35','2012-02-25 13:42:35','The Stage - Review of Courtenay.\r\n\r\nTouring two prominent south east theatres and focusing on Kent\'s heritage creates a sense of identity for local audiences. However, its appeal would undoubtedly attract a wider audience should Bright Start Productions, in association with the Stag Theatre, Sevenoaks, choose to lengthen their tour. The plot reveals the impulsive Sir William Courtenay, revolutionary and suspected madman. With the energetic strains of Les Miserables, the large cast is headed by Loren Geeting in the title role. It is no surprise Geeting has won awards for his voice as he commands centre stage in both voice and stature. With a Macheath-like charm, Courtenay seduces local protester Sarah Culver (Renée Salewski) though the relationship does not lessen the action. Salewski appears childlike yet her voice reveals a maturity and control demanded of a lead role. Supporting character Katherine Tom (Antonia Bond), Courtenay\'s forgotten wife, appears fleetingly yet captures the sense of the wronged party. Sarah\'s sweetheart Nicholas Mears, played by David Wyatt, is well cast as tragically young and impulsive. Although the scenes seemed more like montages, Christopher Neame\'s script is a good balance of action and romance. George Roman directs and Ethan Lewis Maltby\'s score is beautifully written. This musical sees some spectacular conflict scenes thanks to Paul Romang\'s fight arrangement and the East Kent Living History and Re-Enactment Unit, in full uniform and firing as though their lives really did depend upon it.','The Stage','On Courtenay... \"Christopher Neame\'s script is a good balance of action and romance. George Roman directs and Ethan Lewis Maltby\'s score is beautifully written. This musical sees some spectacular conflict scenes thanks to Paul Romang\'s fight arrangement and the East Kent Living History and Re-Enactment Unit, in full uniform and firing as though their lives really did depend upon it.\"','inherit','closed','open','','188-revision-10','','','2012-02-25 13:42:35','2012-02-25 13:42:35','',188,'http://www.ethanlewismaltby.com/Home/188-revision-10/',0,'revision','',0),(520,1,'2014-06-29 23:10:19','2014-06-29 23:10:19','

ELM Composes For UEFA

\r\nELM commissioned by UEFA to score the opening ceremony for both the UEFA Europa League Cup Final and the UEFA Women\'s Champions League Final.','2014 - A','','publish','closed','closed','','2014-a','','','2014-12-17 02:25:43','2014-12-17 02:25:43','',0,'http://www.ethanlewismaltby.com/Home/?post_type=stylico-slide&p=520',0,'stylico-slide','',0),(495,1,'2013-11-23 14:03:09','2013-11-23 14:03:09','

The new album \'Christmas Symphonica\' by ELM out now

\r\nFeaturing the voices of Jason Allen and Jenna Donnelly, this 58-minute orchestral festive celebration combines original composition with a couple of old favourites. Available now to buy from iTunes, Google Play and Amazon MP3.','Slide 15','','publish','closed','closed','','slide-15','','','2013-11-23 16:03:09','2013-11-23 16:03:09','',0,'http://www.ethanlewismaltby.com/Home/?post_type=stylico-slide&p=495',0,'stylico-slide','',0),(496,1,'2013-11-23 14:02:55','2013-11-23 14:02:55','','ChristmasSymphonicaBanner','','inherit','closed','open','','christmassymphonicabanner','','','2013-11-23 14:02:55','2013-11-23 14:02:55','',495,'http://ethanlewismaltby.com/Home/wp-content/uploads/2013/11/ChristmasSymphonicaBanner.jpg',0,'attachment','image/jpeg',0),(497,1,'2013-11-23 14:07:50','2013-11-23 14:07:50','

The new album \'Christmas Symphonica\' by ELM out now

\nFeaturing the voices of Jason Allen and Jenna Donnelly, this 58-minute orchestral festive celebration combines original composition with a couple of old favourites. Available now to buy from iTunes, Google Play and Amazon MP3.','Slide 15','','inherit','closed','open','','495-autosave','','','2013-11-23 14:07:50','2013-11-23 14:07:50','',495,'http://www.ethanlewismaltby.com/Home/495-autosave/',0,'revision','',0),(505,1,'2014-01-08 14:41:31','2014-01-08 14:41:31','
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The York Press

\n\nPosted on February 25, 2012 by admin\n\n\n\n\n\n\n\n

The Stage

\n\nPosted on February 25, 2012 by admin\n\n\n\n\n\n\n\n

The Oxford Times

\n\nPosted on February 25, 2012 by admin\n\n\n\n\n\n\n\n

What’s On Northeast

\n\nPosted on February 25, 2012 by admin\n\n\n\n\n\n\n\n

Brighton Argus

\n\nPosted on February 25, 2012 by admin\n\n\n\n\n\n\n\n

Mid Hants Observer

\n\nPosted on February 25, 2012 by admin\n\n\n\n\n\n\n\n

Great British Theatre

\n\nPosted on January 25, 2012 by admin\n\n\n\n\n\n\n\n

Kent on Sunday

\n\nPosted on January 23, 2012 by admin\n\n\n\n\n\n\n\n

Best Kept Secrets

\n\nPosted on January 23, 2012 by admin\n\n\n\n\n\n\n\n

Talk Torbay

\n\nPosted on January 23, 2012 by admin\n\n\n\n\n\n','Reviews','','inherit','closed','open','','318-revision-3','','','2012-02-21 19:35:55','2012-02-21 19:35:55','',318,'http://www.ethanlewismaltby.com/Home/318-revision-3/',0,'revision','',0),(512,1,'2014-01-08 16:11:59','2014-01-08 16:11:59','Reviews','Reviews','','inherit','closed','open','','318-autosave','','','2014-01-08 16:11:59','2014-01-08 16:11:59','',318,'http://www.ethanlewismaltby.com/Home/318-autosave/',0,'revision','',0),(515,1,'2014-01-08 14:48:04','2014-01-08 14:48:04','
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Ethan Lewis Maltby is a British composer based in Canterbury, Kent. His music has been performed all over the world in cinemas, stadiums and theatres.

\n

To date, Maltby has scored many films and animations covering many different genres. He has collaborated with acclaimed Spanish filmmaker Jesús Monllaó on several projects, most recently scoring the multi award-winning feature film ‘Son Of Cain’. In theatre, Maltby has composed scores for ‘A Midsummer Night’s Dream’ (UKC), ‘Bloodletting’ (HCC), ‘Ignite’ (UK Tour), ‘Snowy The Fox’ (The Brook Theatre, Chatham) and several musicals including ‘Courtenay’ (UK Tour), \'The Sparkle Thief\' (Anselm Studios, Canterbury) and the upcoming ‘Apparition Smith’.

\n

In 2004 Maltby created, composed and directed ‘Noise Ensemble’, a percussion show which toured all over the world from 2006 - 2011. This spectacular show has played extensively in UK theatres and venues including The South Bank Centre, Wembley Stadium and on TV’s Blue Peter. He also composed the score for the 2008 and 2009 FA Cup Final Opening Ceremonies – his track ‘FA Overture’ has since become the players walk-on anthem for all major FA games.

\n

In 2011, Maltby’s latest theatrical show ‘DrumChasers’ toured UK theatres with narration by Stephen Fry, it received rave reviews. He is currently working on several theatrical projects including his new musical \'The Battle Of Boat\'.

\n

~

\nClients include: UEFA, FA, RBS, Microsoft, Nestle, Cineworld, Telenet, BP, The Venetian Hotel Macau, Wella, Shepherd Neame, Walls, Leeds Castle, KCC','About','','inherit','closed','open','','317-autosave','','','2015-01-12 01:23:45','2015-01-12 01:23:45','',317,'http://www.ethanlewismaltby.com/Home/317-autosave/',0,'revision','',0),(517,1,'2012-06-19 23:39:02','2012-06-19 23:39:02','\"\"\r\n

Ethan Lewis Maltby is a British composer based in Canterbury, Kent. He writes music for TV, Theatre, Cinema and the Concert Hall.

\r\n

Maltby has scored many films and animations covering many different genres. He has collaborated with Spanish filmmaker Jesús Monllaó on several projects, scoring the award winning \'La Mirada Oblique\', \'Gloria\', and \'The Legacy\', and also with animator Kam-Li Cheng on her stunning animations, \'The Highwayman\' and \'Avatara\'. In late 2006, Maltby scored \'Waste Man\', the Channel 4 documentary on artist Antony Gormley and his sculpture. In theatre, Maltby composed the soundtrack for the first British virtual reality stage play, \'A Midsummer Night\'s Dream\', the score for Hungarian play \'Bloodletting\' and several musicals including \'Courtenay\' (with lyricist Christopher Neame).

\r\n

In 2004 Maltby created, composed and directed \'Noise Ensemble\', a percussion show which has been touring since 2006. This spectacular show has played extensively in UK theatres and venues including The South Bank Centre, Wembley Stadium and on TV\'s Blue Peter. It has also toured Russia, Belgium, Holland, South Korea, Switzerland, Norway and Cyprus. He also composed the score for the 2008 and 2009 FA Cup Final Opening Ceremonies – his track \'FA Overture\' has since become the players walk-on anthem for all major FA games.

\r\n

Maltby\'s latest theatrical show \'DrumChasers\' toured theatres throughout the UK in 2011 with narration by Stephen Fry and received rave reviews. He then finished the year by scoring The Brook Theatre\'s Christmas show, \'Snowy The Fox\'. Maltby recently finished scoring Jesús Monllaó\'s debut feature film \'Fill De Cain\' and the score for the national touring Dance Theatre piece \'Ignite\'.

','About','','inherit','closed','open','','317-revision-6','','','2012-06-19 23:39:02','2012-06-19 23:39:02','',317,'http://www.ethanlewismaltby.com/Home/317-revision-6/',0,'revision','',0),(511,1,'2014-01-08 16:07:48','2014-01-08 16:07:48','\n\n\n\n

The York Press

\n\nPosted on February 25, 2012 by admin\n\n\n\n\n\n\n\n

The Stage

\n\nPosted on February 25, 2012 by admin\n\n\n\n\n\n\n\n

The Oxford Times

\n\nPosted on February 25, 2012 by admin\n\n\n\n\n\n\n\n

What’s On Northeast

\n\nPosted on February 25, 2012 by admin\n\n\n\n\n\n\n\n

Brighton Argus

\n\nPosted on February 25, 2012 by admin\n\n\n\n\n\n\n\n

Mid Hants Observer

\n\nPosted on February 25, 2012 by admin\n\n\n\n\n\n\n\n

Great British Theatre

\n\nPosted on January 25, 2012 by admin\n\n\n\n\n\n\n\n

Kent on Sunday

\n\nPosted on January 23, 2012 by admin\n\n\n\n\n\n\n\n

Best Kept Secrets

\n\nPosted on January 23, 2012 by admin\n\n\n\n\n\n\n\n

Talk Torbay

\n\nPosted on January 23, 2012 by admin\n\n\n\n\n\n','Reviews','','inherit','closed','open','','318-revision-4','','','2014-01-08 16:07:48','2014-01-08 16:07:48','',318,'http://www.ethanlewismaltby.com/Home/318-revision-4/',0,'revision','',0),(531,1,'2014-08-05 21:01:45','2014-08-05 21:01:45','[nggallery id=1]','Links','','inherit','closed','open','','524-autosave','','','2014-08-05 21:01:45','2014-08-05 21:01:45','',524,'http://www.ethanlewismaltby.com/Home/524-autosave/',0,'revision','',0),(519,1,'2014-01-31 22:48:43','2014-01-31 22:48:43','\"\"\r\n

Ethan Lewis Maltby is a British composer based in Canterbury,Kent. His music has been performed all over the world in cinemas, stadiums and theatres.

\r\n

To date, Maltby has scored many films and animations covering many different genres. He has collaborated with acclaimed Spanish filmmaker Jesús Monllaó on several projects, most recently scoring the multi award-winning feature film ‘Son Of Cain’. In theatre, Maltby has composed scores for ‘A Midsummer Night’s Dream’ (UKC), ‘Bloodletting’ (HCC), ‘Ignite’ (UK Tour), ‘Snowy The Fox’ (The Brook Theatre, Chatham) and several musicals including ‘Courtenay’ (UK Tour) and the upcoming ‘Apparition Smith’.

\r\n

In 2004 Maltby created, composed and directed ‘Noise Ensemble’, a percussion show which toured all over the world from 2006 - 2011. This spectacular show has played extensively in UK theatres and venues including The South Bank Centre, Wembley Stadium and on TV’s Blue Peter. He also composed the score for the 2008 and 2009 FA Cup Final Opening Ceremonies – his track ‘FA Overture’ has since become the players walk-on anthem for all major FA games.

\r\n

In 2011, Maltby’s latest theatrical show ‘DrumChasers’ toured UK theatres with narration by Stephen Fry, it received rave reviews. He is currently in pre-production on British feature film ‘Marriage’ whilst continuing to develop various theatrical projects.

\r\n

~

\r\nClients include: UEFA, FA, RBS, Microsoft, Nestle, Cineworld, Telenet, BP, The Venetian Hotel Macau, Wella, Shepherd Neame, Walls, Leeds Castle, KCC','About','','inherit','closed','open','','317-revision-8','','','2014-01-31 22:48:43','2014-01-31 22:48:43','',317,'http://www.ethanlewismaltby.com/Home/317-revision-8/',0,'revision','',0),(524,1,'2014-06-30 23:39:47','2014-06-30 23:39:47','[nggallery id=1]','Links','','publish','closed','open','','links','','','2014-06-30 23:39:47','2014-06-30 23:39:47','',0,'http://www.ethanlewismaltby.com/Home/links/',0,'page','',0),(527,1,'2012-02-21 20:32:08','2012-02-21 20:32:08','
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Links

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The Sparkle Thief opens!

\r\nThe new Christmas Musical by ELM and Jenna Donnelly opens at Anselm Studios.','The Sparkle Thief opens!','','publish','closed','closed','','the-new-christmas-musical-by-elm-and-jenna-donnelly-opens-at-anselm-studios','','','2014-12-17 02:27:00','2014-12-17 02:27:00','',0,'http://www.ethanlewismaltby.com/Home/?post_type=stylico-slide&p=532',0,'stylico-slide','',0),(523,1,'2014-06-29 23:05:56','2014-06-29 23:05:56','','europa-league-final','','inherit','closed','open','','europa-league-final-2','','','2014-06-29 23:05:56','2014-06-29 23:05:56','',520,'http://ethanlewismaltby.com/Home/wp-content/uploads/2014/06/europa-league-final1.jpeg',0,'attachment','image/jpeg',0),(528,1,'2014-08-05 13:24:54','2014-08-05 13:24:54','
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ELM Composes For UEFA

\nThe new Christmas Musical by ELM and Jenna Donnelly opens at Anselm Studios.','The Sparkle Thief opens!','','inherit','closed','open','','532-autosave','','','2014-12-17 02:26:50','2014-12-17 02:26:50','',532,'http://www.ethanlewismaltby.com/Home/532-autosave/',0,'revision','',0),(543,1,'2012-02-25 13:41:56','2012-02-25 13:41:56','By Jonathan Wilkes\r\n\r\nNoise Ensemble’s epic musical DrumChasers, replacing vocals with percussion, is an explosive display of sound and light. Eleven virtuosic performers with endless energy and talent offered a mesmerising experience and a beautiful story.\r\n\r\nCaretaker at a concert hall, Mr Bennett (Jack Warner), witnesses a doorway opening to a dystopian world where people play percussion instruments, inlcuding drums, xylophones and triangles, as communication. And Noiseland’s inhabitants play extremely well, never missing a beat.\r\n\r\nA Dr Seuss-esque narration by Stephen Fry tells us they are caught in an age-old feud. War is prevented only by the mystical powers of the Noise Wrangler and her purple lightsabres. A blossoming Romeo and Juliet romance and a discovery by Mr Bennett however could lead to peace.\r\n\r\nThe truly spectacular DrumChasers leaves one in awe of how every element worked in exquisite harmony. It perfectly balanced gravitas and self-deprecation so the audience (which should have been bigger) never doubted Noise Ensemble’s soulful tale.\r\n\r\nThe melodious music, accompanied by a spellbinding orchestral and electric score, was extraordinary: powerful, stentorian drumming quickly followed by more melodious, playful flourishes on xylophones and glockenspiels.\r\n\r\nIt had action, romance, poignancy and comedy – a pitch-black performance with glow-in-the-dark levitating drums being especially funny. The industrial set and apocalyptic costumes, and a literally breath-taking lighting design, really enhanced the production.\r\n\r\nSpecial mention must go to Georgina King for the exhilarating choreography and to composer, director and creator Ethan Lewis Maltby.\r\n\r\nHis resplendent production is a profoundly affecting and memorable theatrical experience.\r\n\r\nHere’s hoping the doorway to Noiseland opens again.','The York Press','On DrumChasers...\"The melodious music, accompanied by a spellbinding orchestral and electric score, was extraordinary: powerful...\"','inherit','closed','open','','172-revision-7','','','2012-02-25 13:41:56','2012-02-25 13:41:56','',172,'http://www.ethanlewismaltby.com/Home/172-revision-7/',0,'revision','',0),(537,1,'2015-01-12 01:09:22','0000-00-00 00:00:00','','Auto Draft','','auto-draft','closed','open','','','','','2015-01-12 01:09:22','0000-00-00 00:00:00','',0,'http://www.ethanlewismaltby.com/Home/?p=537',0,'post','',0),(541,1,'2014-08-05 21:00:51','2014-08-05 21:00:51','\"\"\r\n

Ethan Lewis Maltby is a British composer based in Canterbury, Kent. His music has been performed all over the world in cinemas, stadiums and theatres.

\r\n

To date, Maltby has scored many films and animations covering many different genres. He has collaborated with acclaimed Spanish filmmaker Jesús Monllaó on several projects, most recently scoring the multi award-winning feature film ‘Son Of Cain’. In theatre, Maltby has composed scores for ‘A Midsummer Night’s Dream’ (UKC), ‘Bloodletting’ (HCC), ‘Ignite’ (UK Tour), ‘Snowy The Fox’ (The Brook Theatre, Chatham) and several musicals including ‘Courtenay’ (UK Tour) and the upcoming ‘Apparition Smith’.

\r\n

In 2004 Maltby created, composed and directed ‘Noise Ensemble’, a percussion show which toured all over the world from 2006 - 2011. This spectacular show has played extensively in UK theatres and venues including The South Bank Centre, Wembley Stadium and on TV’s Blue Peter. He also composed the score for the 2008 and 2009 FA Cup Final Opening Ceremonies – his track ‘FA Overture’ has since become the players walk-on anthem for all major FA games.

\r\n

In 2011, Maltby’s latest theatrical show ‘DrumChasers’ toured UK theatres with narration by Stephen Fry, it received rave reviews. He is currently continuing to develop various theatrical projects.

\r\n

~

\r\nClients include: UEFA, FA, RBS, Microsoft, Nestle, Cineworld, Telenet, BP, The Venetian Hotel Macau, Wella, Shepherd Neame, Walls, Leeds Castle, KCC','About','','inherit','closed','open','','317-revision-10','','','2014-08-05 21:00:51','2014-08-05 21:00:51','',317,'http://www.ethanlewismaltby.com/Home/317-revision-10/',0,'revision','',0),(544,1,'2012-02-25 13:51:10','2012-02-25 13:51:10','The Stage - Review of Courtenay.\r\n\r\nTouring two prominent south east theatres and focusing on Kent\'s heritage creates a sense of identity for local audiences. However, its appeal would undoubtedly attract a wider audience should Bright Start Productions, in association with the Stag Theatre, Sevenoaks, choose to lengthen their tour. The plot reveals the impulsive Sir William Courtenay, revolutionary and suspected madman. With the energetic strains of Les Miserables, the large cast is headed by Loren Geeting in the title role. It is no surprise Geeting has won awards for his voice as he commands centre stage in both voice and stature. With a Macheath-like charm, Courtenay seduces local protester Sarah Culver (Renée Salewski) though the relationship does not lessen the action. Salewski appears childlike yet her voice reveals a maturity and control demanded of a lead role. Supporting character Katherine Tom (Antonia Bond), Courtenay\'s forgotten wife, appears fleetingly yet captures the sense of the wronged party. Sarah\'s sweetheart Nicholas Mears, played by David Wyatt, is well cast as tragically young and impulsive. Although the scenes seemed more like montages, Christopher Neame\'s script is a good balance of action and romance. George Roman directs and Ethan Lewis Maltby\'s score is beautifully written. This musical sees some spectacular conflict scenes thanks to Paul Romang\'s fight arrangement and the East Kent Living History and Re-Enactment Unit, in full uniform and firing as though their lives really did depend upon it.','The Stage','On Courtenay... \"Christopher Neame\'s script is a good balance of action and romance. George Roman directs and Ethan Lewis Maltby\'s score is beautifully written. This musical sees some spectacular conflict scenes thanks to Paul Romang\'s fight arrangement...\"','inherit','closed','open','','188-revision-11','','','2012-02-25 13:51:10','2012-02-25 13:51:10','',188,'http://www.ethanlewismaltby.com/Home/188-revision-11/',0,'revision','',0),(545,1,'2012-02-25 13:43:22','2012-02-25 13:43:22','By Angie Johnson\r\n\r\nDrumchasers is a fusion of everything that’s great about live performance. It has terrific music and dancing, an intriguing set and one of the best lighting designs I’ve ever seen in the theatre. Above all it has a unique idea that fascinates while it entertains. Featuring every percussion instrument you can think of, and more, this is one fabulous evening out.\r\n\r\nThe story that frames all this expertise revolves around Mr Bennett (an assured performance by Jack Warner offering plenty of comic relief), an elderly Concert Hall caretaker looking after the instrument store, which one night is magically subsumed into the percussive otherworld of the Drumchasers. Energy is the keynote of this show — powerful drumming and dance create an epic world where an eternal battle between two opposing forces is played out with a myriad of different percussion instruments. But as with all good epics, there is also a love story amid the conflict, which allows for the interweaving of sequences using more gentle sounds such as the marimba. It’s a cleverly wrought plot that enables great variation in the sound and dance sequences.\r\n\r\nSometimes it’s loud, stirring or martial, sometimes funny, softly romantic or sad, but it’s always well realised. Importantly, it’s a show that takes its themes seriously but never veers into the pretentious. This is helped by the whimsy-free narration provided by Stephen Fry. The cast of ten are all terrific in both the playing and dancing departments. Each of them have their own intriguing character and accomplished special sequences, and when they come together as an ensemble they are simply mind-blowing. The choreography by Georgina King works fantastically well with the overall vision of Ethan Lewis Maltby, the composer, creator and director.\r\n\r\nThere is also a bit of non-threatening audience participation (synchronised clapping!) which was great fun and made us all feel part of this truly spectacular event. If ever a show deserved a run in the West End it’s this one.','The Oxford Times','On DrumChasers... \"Sometimes it’s loud, stirring or martial, sometimes funny, softly romantic or sad...simply mind-blowing...\"','inherit','closed','open','','176-revision-8','','','2012-02-25 13:43:22','2012-02-25 13:43:22','',176,'http://www.ethanlewismaltby.com/Home/176-revision-8/',0,'revision','',0),(546,1,'2012-02-25 13:46:13','2012-02-25 13:46:13','DrumChasers at the Civic – A New Masterpiece\r\n\r\nBy Andy Bramfitt\r\n\r\nYou know, with all the social media, tweeting, facebook etc I honestly thought that the days of finding a new show for which I had no ideas, expectations or pre-conceptions was sadly over. (To tell you a secret, all my life I have wished I had been in the audience for the first showing of the Rocky Horror Show, way back before the midnight costume parties and the huge cult following but alas no, I was destined just to be a follower.)\r\n\r\nWell after tonight I honestly believe that in years to come I can stand proud and say “Yes, I saw it before they took the West End by storm”.\r\n\r\nEthan Lewis Maltby’s DrumChasers is unlike any other show I have ever seen; a mesmerising blend of unbelievable drumming coupled with beautiful dancing all set to a futuristic tale of power, rivalry and love. Actually, to say its all drumming is doing a grave dis-service to the whole percussion experience including some truly beautiful glokenspiel melodies. This is story-telling-without-words at its best and it had me hooked from the first beat to the very last.\r\n\r\nGeorgina King’s choreography is wonderfully synchronised, evocotive and yet simple, but it’s not until you really watch the stage that you realise that it’s no mean feat to match expressive dance with demanding drumming & exacting rhythms.\r\n\r\nMake no mistake, this is not a show of 10 drummers simply stood on stage; each character has their own story, their own personality which they bring to the fore through genuine acting (there is no dialogue at all which makes the story telling even more engaging) and very quickly you understand the premise of the show, even before Stephen Fry’s narration of the Noiseland Tale (written by Jenna Donnelly) comes in about half way through act 1.\r\n\r\nThe story, without wanting to give too much away, is about a race of people, the Drumchasers from Noiseland, who, through the loss of a worshipped relic become fractured and warring. This relic finds it’s way to earth and is discovered by Mr Bennet, a stage caretaker (played wonderfully by somebody’s grandad – actually its none other than Mr Jack Warner). His unwitting discovery prompts the Drumchasers and their guardian peacekeeper Weckl (deliciously played by the vampish Rachel Stock) to come to earth and continue their rivalry. This is done through what I can only describe as battle drumming, a sort of dance off using percussion.\r\n\r\nThrough all of this we are treated to the impish mischief of Gene (played by Amy Kelly), the macho posturing of Blades & Vinnie (James Hulme & James Godfrey) and an age old story of two lovers from the opposite sides. Playing out like a futuristic West Side Story, Buddy (a very dishy Simon Morgan-Thomas, according to my daughter) and Eve (a very cute Stephanie Clarke) try to unite the two sides but as with all torn-lovers tales, it is far from easy.\r\n\r\nAs the story works towards its conclusion the beats become more frantic, the surprises get bigger and the choreography even more impressive (there’s a great scene set in almost complete darkness – honest, believe me!). I won’t spoil things by telling you the rest of the show, ‘cept to say that you should really seek out this production, take the family and go lose yourself in the rhythm.\r\n\r\nAt the end, once the final curtain came down, there was a quiet sense of awe in the audience, almost like a collective reasoning, like we had shared a moment. We probably had as no-one truly knew what to expect, yet everyone agreed it was awesome.\r\n\r\nThere have been some iconic shows which define or even create their own genres; Riverdance, Cirque de Soliel, The Mousetrap, We Will Rock You – I believe that we have seen another tonight which could do the same – it truly is that special that I urge anyone to treat themselves and go and see it this weekend.','What\'s On Northeast','On DrumChasers...\"It had me hooked from the first beat to the very last.\"','inherit','closed','open','','168-revision-24','','','2012-02-25 13:46:13','2012-02-25 13:46:13','',168,'http://www.ethanlewismaltby.com/Home/168-revision-24/',0,'revision','',0),(547,1,'2012-02-25 13:26:50','2012-02-25 13:26:50','Brighton Argus –  Theatre Royal,Brighton\r\n\r\n \r\n\r\nA Different Drum\r\n\r\n \r\n\r\nThe ten talented percussionists of Noise Ensemble provided an evening that not only fused remarkable sound with brilliant colours but also wove into the routines extraordinary choreographed movement. At times the fervour of the young players echoed the tribal rituals of Africa and theSouth Seas. Every conceivable variety of drum was used along with anything else that could be struck, scraped or shaken. These were backed on occasions by guitar and a soundtrack of electronic music which had an ethereal quality.\r\n\r\n \r\n\r\nThe evening was not all heavy passion – it was laced with gentleness and humour. Subtle and tender sounds came from such instruments as the vibraphone, the xylophone and even the humble triangle, in all its differing sizes. Humour pervaded the evening with a witty send-up of satellite TV channels depicted on a screen at the rear of the stage and several comic numbers. These included a mime using different sounds for various body movements , the boredom of the percussion section as they awaited their brief moments of glory at the end of a symphony and a number where the drummers chased and played their instruments which took on a life of their own as they flew around the stage.\r\n\r\n \r\n\r\nIn highlighting the percussion instruments normally relegated to the back of an orchestra, director and composer, Ethan Lewis Maltby has created a dazzling showcase for these Cinderella instruments. All the instruments shone but the stars of the evening were the drums which throbbed and pulsated throughout. The response of the audience showed that the evening, if you will forgive the pun, was a thumping great success.','Brighton Argus','On Noise Ensemble... \"In highlighting the percussion instruments normally relegated to the back of an orchestra, director and composer, Ethan Lewis Maltby has created a dazzling showcase for these Cinderella instruments. The response of the audience showed that the evening, if you will forgive the pun, was a thumping great success.\"','inherit','closed','open','','460-revision-3','','','2012-02-25 13:26:50','2012-02-25 13:26:50','',460,'http://www.ethanlewismaltby.com/Home/460-revision-3/',0,'revision','',0),(548,1,'2012-02-25 13:22:18','2012-02-25 13:22:18','Mid Hants Observer – Noise Ensemble -  The Nuffield, Southampton\r\n\r\nAn extract from the article/review “Tub thumping”\r\n\r\nIt was with some trepidation that I approached Noise Ensemble, billed as an “international percussion sensation”… Any misgivings I may have had were instantly extinguished when a voice announced that the following performance would contain “graphic beatings and scenes of a percussive nature.” A statement of intent that hinted that Noise Ensemble didn’t take itself too seriously. From this point on we were treated to a riotous evening of non stop entertainment.\r\n\r\nNoise Ensemble is a new and unique twist on musical theatre, with Ethan Lewis Maltby’s score brought vividly to life by a troupe of ten young, beautiful and obscenely talented percussionists. My notes from the night are sketchy at best, a reflection of how much I was enjoying the show. A couple of legible entries mention rock band with xylophones (certainly no bad thing in my book ), the tongue in cheek cable TV-style interludes, and a real ‘vaudevillian feel’ (don’t ask how I wrote that in the dark), with comic interludes reminiscent of traditional circus clowns.\r\n\r\nMusically speaking, there were moments of jaw-dropping beauty, particularly the interplay between marimbas, xylophones and the rest of the percussive arsenal. Noise Ensemble covers a lot of ground. Late in the set we were treated to some 70s style wah-wah guitar and choreography that appeared to pay homage to West Side Story, unsurprising elements when you consider the composer’s background in film scores.\r\n\r\nNoise Ensemble is certainly unique, relentlessly entertaining and shot through with plenty of humour, delivered by an impossibly good looking cast. It’s an energetic show that I would have no hesitation in recommending to audiences of all ages. Another demonstration of The Nuffield’s commitment to original and spectacular productions. On top of that I’ve had to reappraise my relationship with drums and drumming. For now at least.','Mid Hants Observer ','On Noise Ensemble... \"a new and unique twist on musical theatre, with Ethan Lewis Maltby’s score brought vividly to life by a troupe of ten young, beautiful and obscenely talented percussionists. My notes from the night are sketchy at best, a reflection of how much I was enjoying the show.\"','inherit','closed','open','','449-revision-6','','','2012-02-25 13:22:18','2012-02-25 13:22:18','',449,'http://www.ethanlewismaltby.com/Home/449-revision-6/',0,'revision','',0),(549,1,'2012-02-25 13:48:48','2012-02-25 13:48:48','Review by Peter Lathan (2011)\r\n\r\nThe advertising for DrumChasers promises \"an evening quite unlike anything you’ve seen before.\" It is, we are told, \"a musical without words, but with drums.\"\r\n\r\nIt\'s a percussion show, from drum kit to triangle, from gong to xylophone. A cast of eleven (plus voice-over by Stephen Fry) play their carefully and tightly choreographed way through a variant on the Romeo and Juliet story set in a parallel world, Noiseland, which somehow bursts into our world in an old concert hall where caretaker Mr Bennett, played by Jack Warner, looks after the instruments stored there. He is to be the instrument (pun intended) which solves Noiseland\'s age-old problems and bringing back peace.\r\n\r\nAnd that\'s not a spoiler: it\'s in the advertising!\r\n\r\nThis could be the recipe for something cringingly self-indugent, and that feeling was exacerbated by the fact that, because I arrived early and was on my own for this show, I read the programme before it started. There, on the first inside page, was an introduction, written in verse which could have been penned by that master of the appalling rhyme, William McGonagall. My heart sank!\r\n\r\n(Those who don\'t know McGonagall really should look at McGonagall Online and marvel!)\r\n\r\nIf I say that, about a third of the way through the first act, these words are spoken by Stephen Fry, you will realise - as I did at that moment - that this is not a show that takes itself too seriously. Indeed, it is shot through with self-deprecating humour, subverting any expectation that we are going to get a tragedy - or even a melodrama. And it gets that balance between humour and the seriousness required to interest us in the story exactly right.\r\n\r\nWhat DrumChasers actually is is very entertaining, even for those who are not particularly interested in percussion. The skill, talent and commitment of the performers are amazing and the lighting - inevitably very rock concert influenced - impressive. The movement of the instruments on, off and around the stage (by the cast) is smooth and quick and the costumes and make-up were close to but not exactly of this world, nicely contrasted with Mr Bennett\'s brown coat and flat cap. I did wonder if the sticks which the Noise Wrangler uses to control her people were meant to remind us of Jedi light sabres. They certainly did me.\r\n\r\nBut it is the performances which will stick in the memory. There was a number (I can\'t think of any other word) in which two opposing faction members fought each other, circling back and forth round two xylophones placed centrestage and never missing a note or even for a second losing their confrontational body language and expressions. And a comic highlight was a duel between two triangle playing cast members.\r\n\r\nGreat fun!','Great British Theatre','On DrumChasers...\" very entertaining, even for those who are not particularly interested in percussion. The skill, talent and commitment of the performers are amazing and the lighting - inevitably very rock concert influenced - impressive. \"','inherit','closed','open','','184-revision-7','','','2012-02-25 13:48:48','2012-02-25 13:48:48','',184,'http://www.ethanlewismaltby.com/Home/184-revision-7/',0,'revision','',0),(550,1,'2012-02-25 13:29:23','2012-02-25 13:29:23','Long after the smoke has drifted from the battlefield, audiences will remember Courtenay.\r\n\r\nThis musical plucked from the Kentish history books - and fashioned into a sophisticated entertainment by a composer and lyricist relatively new to the genre – deserves its place on a wider stage.\r\n\r\nBy turns exciting and tender, thought-provoking and uplifting, Courtenay is set around 20 years after the Peterloo massacre and looks behind the curious story of the last battle to be fought on English soil and makes a cracking, three-dimensional show of it. Composer, orchestrator and musical director, Ethan Lewis Maltby, not yet 30 but nevertheless a self-confessed fan of the swashbuckling era, has sewn a rich seam of interwoven themes throughout the two acts. His music hits spot.\r\n\r\nWhile paying plentiful homage to his first musical love, percussion, the score has pace, vitality and, dare I say it, hummability and while that may not be fashionable it certainly helps to convince ticket-buyers that they have had their money’s worth. See a show and take a tune away with you is no bad slogan even for a modern musical.\r\n\r\nEach of the central characters in Courtenay has a haunting theme of his or her own which blend to great effect at moments of tenderness, for this show is not all about dreams of the 19th century working man finding his true worth under the sleety, unforgiving gaze of establishment figures.\r\n\r\nLyricist Christopher Neame has taken a complex subject and given a perspective to Courtenay\'s story that many historians have discarded in favour of a simplistic view that the protagonist was mad and all his followers simple. The lyrics, particularly those given to Courtenay are intelligent without being polemical.\r\n\r\nAt the opening at Canterbury’s Marlowe Theatre on Thursday it was hard to find any chinks in this emotive story of one man\'s slide from visionary enthusiasm to self-delusion and destruction. There were some technical problems, chiefly with the sound balance, but the principals and ensemble worked together to produce a first night to be proud of.\r\n\r\nThe show is fortunate in having a trio of voices at the top that would match the best the West End has to offer. Loren Geeting as Courtenay, Renée Salewski as the object of his desire, Sarah Culver and David Wyatt as Nicholas Mears, the lover cast aside by Culver for Courtenay’s more dazzling attractions, are a class act. Wyatt has a voice that we will hear again and again if the scouts are doing their job and Geeting and Salewski both live up to their credentials.\r\n\r\nLindsey Mack as the Canterbury Marshal, Captain Townsend, cuts a dash darkly as the man who is out to thwart Courtenay\'s egalitarian ambitions. His presence is like that of a sinister crow. Antonia Bond generates tenderness as the wife Courtenay left behind, struggling to understand her husband’s wild side and Anthony Garner provides a solid presence as the narrator Everyman who guides the audience, many of whom will be unfamiliar with the story, carefully and unobtrusively.\r\n\r\nSet design is also instrumental to the success of this show. Veteran film and TV designer Roy Stannard, a newcomer to the theatre whose credits include David Lean\'s Lawrence of Arabia, has produced a simple, yet effective raked platform in which most of the action is concentrated, focusing the attention perfectly.\r\n\r\nAll this is overseen by a reaper, a simple agricultural machine seen as the means by which the landowner will emasculate the labourer.\r\n\r\nAs the show opens, the machine, cast as the grim reaper, dominates a stark scene as the countrysiders who will come to follow Courtenay, scrape a living from the soil while sinister clouds drift across the landscape. The climate of fear is brought home by blood-red effects schemed by Ben M Rogers, a lighting designer with many West End and international credits to his name, whose skills help to create Courtenay\'s many memorable moods.\r\n\r\nThis homespun show is something Kent can be proud of and one that audiences anywhere would appreciate. Surely local history was never this alive, or so worthy of the standing ovation it got on Thursday.\r\n\r\nRussell Flint','Kent on Sunday','On Courtenay... \"By turns exciting and tender, thought-provoking and uplifting, Courtenay is set around 20 years after the Peterloo massacre and looks behind the curious story of the last battle to be fought on English soil and makes a cracking, three-dimensional show of it. Composer, orchestrator and musical director, Ethan Lewis Maltby, not yet 30 but nevertheless a self-confessed fan of the swashbuckling era, has sewn a rich seam of interwoven themes throughout the two acts. His music hits spot.\"','inherit','closed','open','','225-revision-8','','','2012-02-25 13:29:23','2012-02-25 13:29:23','',225,'http://www.ethanlewismaltby.com/Home/225-revision-8/',0,'revision','',0),(551,1,'2012-02-25 13:33:36','2012-02-25 13:33:36','It is not very often that one gets to see a world premiere, especially a world premiere in Blackpool, so we were delighted to be able to go and see the first ever performance of the new percussion based musical DrumChasers at the Blackpool Grand Theatre. Having not seen the previous “Noise Ensemble” we really did not know what to expect and went along with completely open minds. Think Ultravox (John Foxx version) do Coppelia, Doctor Who does West Side story and the Terminator meets Les Mis and you’re part way there.\r\n\r\nOddly enough, the caretaker - Mr Bennett - who starts off looking like a bedraggled Blakey out of “On The Buses” -ends up the hero in this tale of factions of warring musicians from another world, which is delightfully narrated by an absently bodied Stephen Fry. Apart from Fry’s outlining of the story, there are no words at all – no dialogue, no singing, more akin to a ballet in fact, relying purely on expressive dance routines and plenty of percussion as the story is told through a succession of musical numbers of varying dramatic gravitas. But this is not just two hours of mindless heavy drumming by any means. In a well balanced score that could easily grace a Hollywood sci fi blockbuster, we have a drummers duel, a piece played solely on the triangle and a romantic glockenspiel moment . There are several enchanting xylophone melodies – bringing to mind dreamy images of tropical rain forests or trickling streams or wherever your own thoughts might take you, carried off by the music.\r\n\r\nAwesome! Spellbinding! Magical! DrumChasers puts you in touch with the primitive being inside you, and in two of the numbers the audience were invited to join in. We loved every minute – from start to finish a fantastic fairytale. Marvellous choreography – the grim set and the war scenes were reminiscent of Les Miserables. Superb performances from talented and versatile musicians/dancers. If only we could somehow learn to harness the energy generated by the dynamic performers on the set of DrumChasers we could indeed save the world from nuclear meltdown. This is not mainstream theatre by any means but all the same absolutely unmissable. Please go and see it.','Best Kept Secrets','On DrumChasers...\"Awesome! Spellbinding! Magical!...There are several enchanting xylophone melodies – bringing to mind dreamy images of tropical rain forests or trickling streams or wherever your own thoughts might take you, carried off by the music.\"','inherit','closed','open','','186-revision-5','','','2012-02-25 13:33:36','2012-02-25 13:33:36','',186,'http://www.ethanlewismaltby.com/Home/186-revision-5/',0,'revision','',0),(552,1,'2012-02-25 13:35:06','2012-02-25 13:35:06','WHAT A Show, Drumchasers has certainly promised a great evenings entertainment in Torquay – This is something that you’ve NEVER Seen before, it is a Musical, without words – but a Hell of a lot of drums!!\r\n\r\nFeaturing the Voice of Stephen Fry, this show has everything, Music, Action, Comedy, Fun, Energy! It was immense. I was so glad to be able to see this show in Torquay, it was a shame to see that the 1,500 seater venue was only a third full, which was a real shame, as the amount of energy that each cast member put into this show – was totally amazing.\r\n\r\nThe music was just great listening, and certainly put a smile on your face watching, my mother in fact took a short video of the show, and I hope that we’re not breaching any copyright laws, but I feel that other people should see HOW amazing this show actually is.\r\n\r\nThe show features all percussions from a Triangle to a Drum, and an amazing 10 minute piece to a Xylophone. A Cast of 11 play with their hearts content, this amazing choreographed production though a Romeo and Juliet story set in ‘Noiseland’ world, which expands into the Human world of an old Theatre where the caretaker ‘Mr Bennett’ played by Jack Warner looks after the instruments which are stored there, he’s the one that solves the way which brings back the peace to everyone at Noiseland.\r\n\r\nDrumchasers is an entertaining piece of work, and the skill which is used throughout the show, not just playing the instruments by dancing with them, and making the show come alive is amazing. The Sound was superb, and the Lighting – Wow, It was FANTASTIC! The lighting designer for this show must be very proud, and I Can imagine very fun to design.\r\n\r\nThis is a NEW Show, and I understand why there maybe wasn’t so many people – But, if this show comes near you, it’s 100% worth a watch! Buy Tickets!!\r\n\r\nPLEASE Come back to Torquay Drumchasers!','Talk Torbay','On DrumChasers...\"The music was just great listening...It was immense...\"','inherit','closed','open','','182-revision-5','','','2012-02-25 13:35:06','2012-02-25 13:35:06','',182,'http://www.ethanlewismaltby.com/Home/182-revision-5/',0,'revision','',0),(553,1,'2012-02-25 13:36:07','2012-02-25 13:36:07','By Vera Fletcher\r\n\r\nDrumChasers sells itself as an explosion of sound and light with a story of romance, rivalry and rhythm and it doesn\'t disappoint. Think Romeo and Juliet with drumsticks (and without the poison). The synopsis of the show tells the story of Mr Bennett, a caretaker in an old concert hall who looks after the instruments stored within its walls. However, one night, something happens, something loud and something otherworldly and he is transported to the land of the DrumChasers. I felt this premise got a bit lost within the first ten minutes, Mr Bennett being swiftly cast aside from view and frantic, captivating drumming prevailed. Just when I had almost written off the storyline as a feeble excuse for a night of intoxicating percussion, the soothing tones of Stephen Fry stepped in to narrate and educate the audience on The Noiseland Tale. Aside from the intermittent guidance of Mr Fry this story was told solely through the use of incredibly skilled drumming, expressive dance and imaginative lighting. Armed with drumsticks as weapons, the fight scenes made convincing battles with emotional integrity. The underlying love story was a particular highlight which needed no explanation, proving some of the best stories are wordless.\r\n\r\nThe performance was polished and professional and the story gained in momentum and strength as the show progressed. Mr Bennett too, being given a bit more stage time to ingrain himself in the performance. The drumming was electric and the energy was infectious, at times it took great pains not to jump up and join in from the aisles. Thankfully towards the shows end there was opportunity to participate rhythmically from the safety of your seat which culminated in a loud surge of release from the audience of previously bottled toe tapping and hand clapping.\r\n\r\nAlong the same vein, if you liked Stomp you\'ll love DrumChasers, an uplifting, enjoyable night out even for those with no rhythm.','RemoteGoat','On DrumChasers... \"A night of intoxicating percussion...the energy was infectious, at times it took great pains not to jump up and join in from the aisles.\"','inherit','closed','open','','174-revision-6','','','2012-02-25 13:36:07','2012-02-25 13:36:07','',174,'http://www.ethanlewismaltby.com/Home/174-revision-6/',0,'revision','',0),(554,1,'2012-02-25 13:45:14','2012-02-25 13:45:14','Kentish Gazette – Marlowe Theatre,Canterbury\r\n\r\n \r\n\r\nDrumming up a storm of a show.\r\n\r\n \r\n\r\nThe drummers’ union was out in Canterbury in force last week with an awesome demonstration of percussion and orchestral drumming. My expectations were lowered by the presence of a poster quote, comparing it to the woeful cheese of Riverdance, but thankfully this was so much better.\r\n\r\nNoise Ensemble has grown from its beginnings as a small show at the Edinburgh Fringe to a wonderful show of dance and drums. Actually, mainly drums.\r\n\r\n \r\n\r\nThe 10 percussionists were playing the music ofCanterbury’s Ethan Lewis Maltby in a spectacular display of co-ordination and pure musicianship that had musicians such as myself cursing their overabundance of talent. Beautiful marimba and vibes’ playing mixed with martial snare and tom work and there were comedy interludes with flying drums and cable TV for drummers.\r\n\r\n \r\n\r\nWhy this show has not become as big a hit as rival Stomp, I can’t understand.\r\n\r\n \r\n\r\nReview by Chris Denham','Kentish Gazette','On Noise Ensemble... \"The 10 percussionists were playing the music ofCanterbury’s Ethan Lewis Maltby in a spectacular display of co-ordination and pure musicianship that had musicians such as myself cursing their overabundance of talent. Beautiful marimba and vibes’ playing mixed with martial snare and tom work and there were comedy interludes with flying drums and cable TV for drummers. Why this show has not become as big a hit as rival Stomp, I can’t understand.\"','inherit','closed','open','','454-revision-4','','','2012-02-25 13:45:14','2012-02-25 13:45:14','',454,'http://www.ethanlewismaltby.com/Home/454-revision-4/',0,'revision','',0),(555,1,'2012-02-25 13:49:50','2012-02-25 13:49:50','Southern Echo – The Nuffield, Southampton\r\n\r\n \r\n\r\nForgive me for banging on about how good this is…\r\n\r\n \r\n\r\nIs there nothing this lot can’t do with a drum? After enjoying two hours of percussive genius from Noise Ensemble, I suspect not. You may think that is overly long for a show which is simply based on banging a big instrument with a stick. But there is so much more to it than that.\r\n\r\n \r\n\r\nWe were treated to all manner of things from drumstick throwing to seemingly flying drums and from spinning dance routines to comedy noise sketches. And the on-stage Noise TV screen was showing Drum DIY, drum survival, percussion exercise classes and the drumming world championships. The cast of 10 burst on to stage for this high-energy and incredibly loud display of drumming at its best.\r\n\r\n \r\n\r\nWhat follows is more of a theatrical experience than a musical one – with set changes every few minutes and performers who play everything from marimbas and maracas to triangles and tom-toms. It combines music, dancing, visual effects and even has a sense of humour. It made me wish I was a little better at banging things with a stick.','Southern Echo','On Noise Ensemble... \"Is there nothing this lot can’t do with a drum? After enjoying two hours of percussive genius from Noise Ensemble, I suspect not. You may think that is overly long for a show which is simply based on banging a big instrument with a stick. But there is so much more to it than that.\"','inherit','closed','open','','458-revision-3','','','2012-02-25 13:49:50','2012-02-25 13:49:50','',458,'http://www.ethanlewismaltby.com/Home/458-revision-3/',0,'revision','',0),(556,1,'2012-02-25 13:50:24','2012-02-25 13:50:24','At The Theatre.co.uk - June 2006\r\n\r\n \r\n\r\nA show for everyone, especially those fond of percussion!\r\n\r\n \r\n\r\nA supreme mix of percussion, drama, dance and comedy; this vibrant show bursts on to the stage with raw energy. The show opens amidst a smoke screen, and with its highly animated performers, the show erupts with a fusion of powerful drumbeats.\r\n\r\n \r\n\r\nConsisting of a variety of music, instruments ranging from tambourines to triangles as well as a wide range of drums, the talent of the vigorous performers is more than impressive. With a variety of music, the show cleverly incorporates comedy sketches to suit every composition; as well as a video screen background introducing the characters whilst comically presenting the world of drumming. The performers extensively use the stage space with ferocious movement, whilst the instruments almost transform into characters themselves.\r\n\r\nAlso visually pleasing, the performers depict an impressive visual spectacle during every musical piece, making the show not only rewarding to hear, but also magnificent to watch. With epic beats and a stormy score, the show borders apocalyptic. This masterfully choreographed show leaves the audience in awe. With an impressive range of instruments and 10 incredibly talented and energetic performers, this fast and furious show is a drumming delight.','At The Theatre.co.uk','On Noise Ensemble... \"Also visually pleasing, the performers depict an impressive visual spectacle during every musical piece, making the show not only rewarding to hear, but also magnificent to watch. With epic beats and a stormy score, the show borders apocalyptic. \"','inherit','closed','open','','463-revision-5','','','2012-02-25 13:50:24','2012-02-25 13:50:24','',463,'http://www.ethanlewismaltby.com/Home/463-revision-5/',0,'revision','',0),(557,1,'2015-06-17 23:07:36','2015-06-17 23:07:36','By Jonathan Wilkes\r\n\r\nNoise Ensemble’s epic musical DrumChasers, replacing vocals with percussion, is an explosive display of sound and light. Eleven virtuosic performers with endless energy and talent offered a mesmerising experience and a beautiful story.\r\n\r\nCaretaker at a concert hall, Mr Bennett (Jack Warner), witnesses a doorway opening to a dystopian world where people play percussion instruments, inlcuding drums, xylophones and triangles, as communication. And Noiseland’s inhabitants play extremely well, never missing a beat.\r\n\r\nA Dr Seuss-esque narration by Stephen Fry tells us they are caught in an age-old feud. War is prevented only by the mystical powers of the Noise Wrangler and her purple lightsabres. A blossoming Romeo and Juliet romance and a discovery by Mr Bennett however could lead to peace.\r\n\r\nThe truly spectacular DrumChasers leaves one in awe of how every element worked in exquisite harmony. It perfectly balanced gravitas and self-deprecation so the audience (which should have been bigger) never doubted Noise Ensemble’s soulful tale.\r\n\r\nThe melodious music, accompanied by a spellbinding orchestral and electric score, was extraordinary: powerful, stentorian drumming quickly followed by more melodious, playful flourishes on xylophones and glockenspiels.\r\n\r\nIt had action, romance, poignancy and comedy – a pitch-black performance with glow-in-the-dark levitating drums being especially funny. The industrial set and apocalyptic costumes, and a literally breath-taking lighting design, really enhanced the production.\r\n\r\nSpecial mention must go to Georgina King for the exhilarating choreography and to composer, director and creator Ethan Lewis Maltby.\r\n\r\nHis resplendent production is a profoundly affecting and memorable theatrical experience.\r\n\r\nHere’s hoping the doorway to Noiseland opens again.','The York Press','On DrumChasers...\"The melodious music, accompanied by a spellbinding orchestral and electric score, was extraordinary: powerful...\"','inherit','closed','open','','172-revision-8','','','2015-06-17 23:07:36','2015-06-17 23:07:36','',172,'http://www.ethanlewismaltby.com/Home/172-revision-8/',0,'revision','',0),(558,1,'2015-06-17 23:07:36','2015-06-17 23:07:36','The Stage - Review of Courtenay.\r\n\r\nTouring two prominent south east theatres and focusing on Kent\'s heritage creates a sense of identity for local audiences. However, its appeal would undoubtedly attract a wider audience should Bright Start Productions, in association with the Stag Theatre, Sevenoaks, choose to lengthen their tour. The plot reveals the impulsive Sir William Courtenay, revolutionary and suspected madman. With the energetic strains of Les Miserables, the large cast is headed by Loren Geeting in the title role. It is no surprise Geeting has won awards for his voice as he commands centre stage in both voice and stature. With a Macheath-like charm, Courtenay seduces local protester Sarah Culver (Renée Salewski) though the relationship does not lessen the action. Salewski appears childlike yet her voice reveals a maturity and control demanded of a lead role. Supporting character Katherine Tom (Antonia Bond), Courtenay\'s forgotten wife, appears fleetingly yet captures the sense of the wronged party. Sarah\'s sweetheart Nicholas Mears, played by David Wyatt, is well cast as tragically young and impulsive. Although the scenes seemed more like montages, Christopher Neame\'s script is a good balance of action and romance. George Roman directs and Ethan Lewis Maltby\'s score is beautifully written. This musical sees some spectacular conflict scenes thanks to Paul Romang\'s fight arrangement and the East Kent Living History and Re-Enactment Unit, in full uniform and firing as though their lives really did depend upon it.','The Stage','On Courtenay... \"Christopher Neame\'s script is a good balance of action and romance. George Roman directs and Ethan Lewis Maltby\'s score is beautifully written. This musical sees some spectacular conflict scenes thanks to Paul Romang\'s fight arrangement...\"','inherit','closed','open','','188-revision-12','','','2015-06-17 23:07:36','2015-06-17 23:07:36','',188,'http://www.ethanlewismaltby.com/Home/188-revision-12/',0,'revision','',0),(559,1,'2015-06-17 23:07:36','2015-06-17 23:07:36','By Angie Johnson\r\n\r\nDrumchasers is a fusion of everything that’s great about live performance. It has terrific music and dancing, an intriguing set and one of the best lighting designs I’ve ever seen in the theatre. Above all it has a unique idea that fascinates while it entertains. Featuring every percussion instrument you can think of, and more, this is one fabulous evening out.\r\n\r\nThe story that frames all this expertise revolves around Mr Bennett (an assured performance by Jack Warner offering plenty of comic relief), an elderly Concert Hall caretaker looking after the instrument store, which one night is magically subsumed into the percussive otherworld of the Drumchasers. Energy is the keynote of this show — powerful drumming and dance create an epic world where an eternal battle between two opposing forces is played out with a myriad of different percussion instruments. But as with all good epics, there is also a love story amid the conflict, which allows for the interweaving of sequences using more gentle sounds such as the marimba. It’s a cleverly wrought plot that enables great variation in the sound and dance sequences.\r\n\r\nSometimes it’s loud, stirring or martial, sometimes funny, softly romantic or sad, but it’s always well realised. Importantly, it’s a show that takes its themes seriously but never veers into the pretentious. This is helped by the whimsy-free narration provided by Stephen Fry. The cast of ten are all terrific in both the playing and dancing departments. Each of them have their own intriguing character and accomplished special sequences, and when they come together as an ensemble they are simply mind-blowing. The choreography by Georgina King works fantastically well with the overall vision of Ethan Lewis Maltby, the composer, creator and director.\r\n\r\nThere is also a bit of non-threatening audience participation (synchronised clapping!) which was great fun and made us all feel part of this truly spectacular event. If ever a show deserved a run in the West End it’s this one.','The Oxford Times','On DrumChasers... \"Sometimes it’s loud, stirring or martial, sometimes funny, softly romantic or sad...simply mind-blowing...\"','inherit','closed','open','','176-revision-9','','','2015-06-17 23:07:36','2015-06-17 23:07:36','',176,'http://www.ethanlewismaltby.com/Home/176-revision-9/',0,'revision','',0),(560,1,'2015-06-17 23:07:36','2015-06-17 23:07:36','DrumChasers at the Civic – A New Masterpiece\r\n\r\nBy Andy Bramfitt\r\n\r\nYou know, with all the social media, tweeting, facebook etc I honestly thought that the days of finding a new show for which I had no ideas, expectations or pre-conceptions was sadly over. (To tell you a secret, all my life I have wished I had been in the audience for the first showing of the Rocky Horror Show, way back before the midnight costume parties and the huge cult following but alas no, I was destined just to be a follower.)\r\n\r\nWell after tonight I honestly believe that in years to come I can stand proud and say “Yes, I saw it before they took the West End by storm”.\r\n\r\nEthan Lewis Maltby’s DrumChasers is unlike any other show I have ever seen; a mesmerising blend of unbelievable drumming coupled with beautiful dancing all set to a futuristic tale of power, rivalry and love. Actually, to say its all drumming is doing a grave dis-service to the whole percussion experience including some truly beautiful glokenspiel melodies. This is story-telling-without-words at its best and it had me hooked from the first beat to the very last.\r\n\r\nGeorgina King’s choreography is wonderfully synchronised, evocotive and yet simple, but it’s not until you really watch the stage that you realise that it’s no mean feat to match expressive dance with demanding drumming & exacting rhythms.\r\n\r\nMake no mistake, this is not a show of 10 drummers simply stood on stage; each character has their own story, their own personality which they bring to the fore through genuine acting (there is no dialogue at all which makes the story telling even more engaging) and very quickly you understand the premise of the show, even before Stephen Fry’s narration of the Noiseland Tale (written by Jenna Donnelly) comes in about half way through act 1.\r\n\r\nThe story, without wanting to give too much away, is about a race of people, the Drumchasers from Noiseland, who, through the loss of a worshipped relic become fractured and warring. This relic finds it’s way to earth and is discovered by Mr Bennet, a stage caretaker (played wonderfully by somebody’s grandad – actually its none other than Mr Jack Warner). His unwitting discovery prompts the Drumchasers and their guardian peacekeeper Weckl (deliciously played by the vampish Rachel Stock) to come to earth and continue their rivalry. This is done through what I can only describe as battle drumming, a sort of dance off using percussion.\r\n\r\nThrough all of this we are treated to the impish mischief of Gene (played by Amy Kelly), the macho posturing of Blades & Vinnie (James Hulme & James Godfrey) and an age old story of two lovers from the opposite sides. Playing out like a futuristic West Side Story, Buddy (a very dishy Simon Morgan-Thomas, according to my daughter) and Eve (a very cute Stephanie Clarke) try to unite the two sides but as with all torn-lovers tales, it is far from easy.\r\n\r\nAs the story works towards its conclusion the beats become more frantic, the surprises get bigger and the choreography even more impressive (there’s a great scene set in almost complete darkness – honest, believe me!). I won’t spoil things by telling you the rest of the show, ‘cept to say that you should really seek out this production, take the family and go lose yourself in the rhythm.\r\n\r\nAt the end, once the final curtain came down, there was a quiet sense of awe in the audience, almost like a collective reasoning, like we had shared a moment. We probably had as no-one truly knew what to expect, yet everyone agreed it was awesome.\r\n\r\nThere have been some iconic shows which define or even create their own genres; Riverdance, Cirque de Soliel, The Mousetrap, We Will Rock You – I believe that we have seen another tonight which could do the same – it truly is that special that I urge anyone to treat themselves and go and see it this weekend.','What\'s On Northeast','On DrumChasers...\"It had me hooked from the first beat to the very last.\"','inherit','closed','open','','168-revision-25','','','2015-06-17 23:07:36','2015-06-17 23:07:36','',168,'http://www.ethanlewismaltby.com/Home/168-revision-25/',0,'revision','',0),(561,1,'2015-06-17 23:07:36','2015-06-17 23:07:36','Brighton Argus –  Theatre Royal,Brighton\r\n\r\n \r\n\r\nA Different Drum\r\n\r\n \r\n\r\nThe ten talented percussionists of Noise Ensemble provided an evening that not only fused remarkable sound with brilliant colours but also wove into the routines extraordinary choreographed movement. At times the fervour of the young players echoed the tribal rituals of Africa and theSouth Seas. Every conceivable variety of drum was used along with anything else that could be struck, scraped or shaken. These were backed on occasions by guitar and a soundtrack of electronic music which had an ethereal quality.\r\n\r\n \r\n\r\nThe evening was not all heavy passion – it was laced with gentleness and humour. Subtle and tender sounds came from such instruments as the vibraphone, the xylophone and even the humble triangle, in all its differing sizes. Humour pervaded the evening with a witty send-up of satellite TV channels depicted on a screen at the rear of the stage and several comic numbers. These included a mime using different sounds for various body movements , the boredom of the percussion section as they awaited their brief moments of glory at the end of a symphony and a number where the drummers chased and played their instruments which took on a life of their own as they flew around the stage.\r\n\r\n \r\n\r\nIn highlighting the percussion instruments normally relegated to the back of an orchestra, director and composer, Ethan Lewis Maltby has created a dazzling showcase for these Cinderella instruments. All the instruments shone but the stars of the evening were the drums which throbbed and pulsated throughout. The response of the audience showed that the evening, if you will forgive the pun, was a thumping great success.','Brighton Argus','On Noise Ensemble... \"In highlighting the percussion instruments normally relegated to the back of an orchestra, director and composer, Ethan Lewis Maltby has created a dazzling showcase for these Cinderella instruments. The response of the audience showed that the evening, if you will forgive the pun, was a thumping great success.\"','inherit','closed','open','','460-revision-4','','','2015-06-17 23:07:36','2015-06-17 23:07:36','',460,'http://www.ethanlewismaltby.com/Home/460-revision-4/',0,'revision','',0),(562,1,'2015-06-17 23:07:36','2015-06-17 23:07:36','Mid Hants Observer – Noise Ensemble -  The Nuffield, Southampton\r\n\r\nAn extract from the article/review “Tub thumping”\r\n\r\nIt was with some trepidation that I approached Noise Ensemble, billed as an “international percussion sensation”… Any misgivings I may have had were instantly extinguished when a voice announced that the following performance would contain “graphic beatings and scenes of a percussive nature.” A statement of intent that hinted that Noise Ensemble didn’t take itself too seriously. From this point on we were treated to a riotous evening of non stop entertainment.\r\n\r\nNoise Ensemble is a new and unique twist on musical theatre, with Ethan Lewis Maltby’s score brought vividly to life by a troupe of ten young, beautiful and obscenely talented percussionists. My notes from the night are sketchy at best, a reflection of how much I was enjoying the show. A couple of legible entries mention rock band with xylophones (certainly no bad thing in my book ), the tongue in cheek cable TV-style interludes, and a real ‘vaudevillian feel’ (don’t ask how I wrote that in the dark), with comic interludes reminiscent of traditional circus clowns.\r\n\r\nMusically speaking, there were moments of jaw-dropping beauty, particularly the interplay between marimbas, xylophones and the rest of the percussive arsenal. Noise Ensemble covers a lot of ground. Late in the set we were treated to some 70s style wah-wah guitar and choreography that appeared to pay homage to West Side Story, unsurprising elements when you consider the composer’s background in film scores.\r\n\r\nNoise Ensemble is certainly unique, relentlessly entertaining and shot through with plenty of humour, delivered by an impossibly good looking cast. It’s an energetic show that I would have no hesitation in recommending to audiences of all ages. Another demonstration of The Nuffield’s commitment to original and spectacular productions. On top of that I’ve had to reappraise my relationship with drums and drumming. For now at least.','Mid Hants Observer ','On Noise Ensemble... \"a new and unique twist on musical theatre, with Ethan Lewis Maltby’s score brought vividly to life by a troupe of ten young, beautiful and obscenely talented percussionists. My notes from the night are sketchy at best, a reflection of how much I was enjoying the show.\"','inherit','closed','open','','449-revision-7','','','2015-06-17 23:07:36','2015-06-17 23:07:36','',449,'http://www.ethanlewismaltby.com/Home/449-revision-7/',0,'revision','',0),(563,1,'2015-06-17 23:07:36','2015-06-17 23:07:36','Review by Peter Lathan (2011)\r\n\r\nThe advertising for DrumChasers promises \"an evening quite unlike anything you’ve seen before.\" It is, we are told, \"a musical without words, but with drums.\"\r\n\r\nIt\'s a percussion show, from drum kit to triangle, from gong to xylophone. A cast of eleven (plus voice-over by Stephen Fry) play their carefully and tightly choreographed way through a variant on the Romeo and Juliet story set in a parallel world, Noiseland, which somehow bursts into our world in an old concert hall where caretaker Mr Bennett, played by Jack Warner, looks after the instruments stored there. He is to be the instrument (pun intended) which solves Noiseland\'s age-old problems and bringing back peace.\r\n\r\nAnd that\'s not a spoiler: it\'s in the advertising!\r\n\r\nThis could be the recipe for something cringingly self-indugent, and that feeling was exacerbated by the fact that, because I arrived early and was on my own for this show, I read the programme before it started. There, on the first inside page, was an introduction, written in verse which could have been penned by that master of the appalling rhyme, William McGonagall. My heart sank!\r\n\r\n(Those who don\'t know McGonagall really should look at McGonagall Online and marvel!)\r\n\r\nIf I say that, about a third of the way through the first act, these words are spoken by Stephen Fry, you will realise - as I did at that moment - that this is not a show that takes itself too seriously. Indeed, it is shot through with self-deprecating humour, subverting any expectation that we are going to get a tragedy - or even a melodrama. And it gets that balance between humour and the seriousness required to interest us in the story exactly right.\r\n\r\nWhat DrumChasers actually is is very entertaining, even for those who are not particularly interested in percussion. The skill, talent and commitment of the performers are amazing and the lighting - inevitably very rock concert influenced - impressive. The movement of the instruments on, off and around the stage (by the cast) is smooth and quick and the costumes and make-up were close to but not exactly of this world, nicely contrasted with Mr Bennett\'s brown coat and flat cap. I did wonder if the sticks which the Noise Wrangler uses to control her people were meant to remind us of Jedi light sabres. They certainly did me.\r\n\r\nBut it is the performances which will stick in the memory. There was a number (I can\'t think of any other word) in which two opposing faction members fought each other, circling back and forth round two xylophones placed centrestage and never missing a note or even for a second losing their confrontational body language and expressions. And a comic highlight was a duel between two triangle playing cast members.\r\n\r\nGreat fun!','Great British Theatre','On DrumChasers...\" very entertaining, even for those who are not particularly interested in percussion. The skill, talent and commitment of the performers are amazing and the lighting - inevitably very rock concert influenced - impressive. \"','inherit','closed','open','','184-revision-8','','','2015-06-17 23:07:36','2015-06-17 23:07:36','',184,'http://www.ethanlewismaltby.com/Home/184-revision-8/',0,'revision','',0),(564,1,'2015-06-17 23:07:36','2015-06-17 23:07:36','Long after the smoke has drifted from the battlefield, audiences will remember Courtenay.\r\n\r\nThis musical plucked from the Kentish history books - and fashioned into a sophisticated entertainment by a composer and lyricist relatively new to the genre – deserves its place on a wider stage.\r\n\r\nBy turns exciting and tender, thought-provoking and uplifting, Courtenay is set around 20 years after the Peterloo massacre and looks behind the curious story of the last battle to be fought on English soil and makes a cracking, three-dimensional show of it. Composer, orchestrator and musical director, Ethan Lewis Maltby, not yet 30 but nevertheless a self-confessed fan of the swashbuckling era, has sewn a rich seam of interwoven themes throughout the two acts. His music hits spot.\r\n\r\nWhile paying plentiful homage to his first musical love, percussion, the score has pace, vitality and, dare I say it, hummability and while that may not be fashionable it certainly helps to convince ticket-buyers that they have had their money’s worth. See a show and take a tune away with you is no bad slogan even for a modern musical.\r\n\r\nEach of the central characters in Courtenay has a haunting theme of his or her own which blend to great effect at moments of tenderness, for this show is not all about dreams of the 19th century working man finding his true worth under the sleety, unforgiving gaze of establishment figures.\r\n\r\nLyricist Christopher Neame has taken a complex subject and given a perspective to Courtenay\'s story that many historians have discarded in favour of a simplistic view that the protagonist was mad and all his followers simple. The lyrics, particularly those given to Courtenay are intelligent without being polemical.\r\n\r\nAt the opening at Canterbury’s Marlowe Theatre on Thursday it was hard to find any chinks in this emotive story of one man\'s slide from visionary enthusiasm to self-delusion and destruction. There were some technical problems, chiefly with the sound balance, but the principals and ensemble worked together to produce a first night to be proud of.\r\n\r\nThe show is fortunate in having a trio of voices at the top that would match the best the West End has to offer. Loren Geeting as Courtenay, Renée Salewski as the object of his desire, Sarah Culver and David Wyatt as Nicholas Mears, the lover cast aside by Culver for Courtenay’s more dazzling attractions, are a class act. Wyatt has a voice that we will hear again and again if the scouts are doing their job and Geeting and Salewski both live up to their credentials.\r\n\r\nLindsey Mack as the Canterbury Marshal, Captain Townsend, cuts a dash darkly as the man who is out to thwart Courtenay\'s egalitarian ambitions. His presence is like that of a sinister crow. Antonia Bond generates tenderness as the wife Courtenay left behind, struggling to understand her husband’s wild side and Anthony Garner provides a solid presence as the narrator Everyman who guides the audience, many of whom will be unfamiliar with the story, carefully and unobtrusively.\r\n\r\nSet design is also instrumental to the success of this show. Veteran film and TV designer Roy Stannard, a newcomer to the theatre whose credits include David Lean\'s Lawrence of Arabia, has produced a simple, yet effective raked platform in which most of the action is concentrated, focusing the attention perfectly.\r\n\r\nAll this is overseen by a reaper, a simple agricultural machine seen as the means by which the landowner will emasculate the labourer.\r\n\r\nAs the show opens, the machine, cast as the grim reaper, dominates a stark scene as the countrysiders who will come to follow Courtenay, scrape a living from the soil while sinister clouds drift across the landscape. The climate of fear is brought home by blood-red effects schemed by Ben M Rogers, a lighting designer with many West End and international credits to his name, whose skills help to create Courtenay\'s many memorable moods.\r\n\r\nThis homespun show is something Kent can be proud of and one that audiences anywhere would appreciate. Surely local history was never this alive, or so worthy of the standing ovation it got on Thursday.\r\n\r\nRussell Flint','Kent on Sunday','On Courtenay... \"By turns exciting and tender, thought-provoking and uplifting, Courtenay is set around 20 years after the Peterloo massacre and looks behind the curious story of the last battle to be fought on English soil and makes a cracking, three-dimensional show of it. Composer, orchestrator and musical director, Ethan Lewis Maltby, not yet 30 but nevertheless a self-confessed fan of the swashbuckling era, has sewn a rich seam of interwoven themes throughout the two acts. His music hits spot.\"','inherit','closed','open','','225-revision-9','','','2015-06-17 23:07:36','2015-06-17 23:07:36','',225,'http://www.ethanlewismaltby.com/Home/225-revision-9/',0,'revision','',0),(565,1,'2015-06-17 23:07:36','2015-06-17 23:07:36','It is not very often that one gets to see a world premiere, especially a world premiere in Blackpool, so we were delighted to be able to go and see the first ever performance of the new percussion based musical DrumChasers at the Blackpool Grand Theatre. Having not seen the previous “Noise Ensemble” we really did not know what to expect and went along with completely open minds. Think Ultravox (John Foxx version) do Coppelia, Doctor Who does West Side story and the Terminator meets Les Mis and you’re part way there.\r\n\r\nOddly enough, the caretaker - Mr Bennett - who starts off looking like a bedraggled Blakey out of “On The Buses” -ends up the hero in this tale of factions of warring musicians from another world, which is delightfully narrated by an absently bodied Stephen Fry. Apart from Fry’s outlining of the story, there are no words at all – no dialogue, no singing, more akin to a ballet in fact, relying purely on expressive dance routines and plenty of percussion as the story is told through a succession of musical numbers of varying dramatic gravitas. But this is not just two hours of mindless heavy drumming by any means. In a well balanced score that could easily grace a Hollywood sci fi blockbuster, we have a drummers duel, a piece played solely on the triangle and a romantic glockenspiel moment . There are several enchanting xylophone melodies – bringing to mind dreamy images of tropical rain forests or trickling streams or wherever your own thoughts might take you, carried off by the music.\r\n\r\nAwesome! Spellbinding! Magical! DrumChasers puts you in touch with the primitive being inside you, and in two of the numbers the audience were invited to join in. We loved every minute – from start to finish a fantastic fairytale. Marvellous choreography – the grim set and the war scenes were reminiscent of Les Miserables. Superb performances from talented and versatile musicians/dancers. If only we could somehow learn to harness the energy generated by the dynamic performers on the set of DrumChasers we could indeed save the world from nuclear meltdown. This is not mainstream theatre by any means but all the same absolutely unmissable. Please go and see it.','Best Kept Secrets','On DrumChasers...\"Awesome! Spellbinding! Magical!...There are several enchanting xylophone melodies – bringing to mind dreamy images of tropical rain forests or trickling streams or wherever your own thoughts might take you, carried off by the music.\"','inherit','closed','open','','186-revision-6','','','2015-06-17 23:07:36','2015-06-17 23:07:36','',186,'http://www.ethanlewismaltby.com/Home/186-revision-6/',0,'revision','',0),(566,1,'2015-06-17 23:07:36','2015-06-17 23:07:36','WHAT A Show, Drumchasers has certainly promised a great evenings entertainment in Torquay – This is something that you’ve NEVER Seen before, it is a Musical, without words – but a Hell of a lot of drums!!\r\n\r\nFeaturing the Voice of Stephen Fry, this show has everything, Music, Action, Comedy, Fun, Energy! It was immense. I was so glad to be able to see this show in Torquay, it was a shame to see that the 1,500 seater venue was only a third full, which was a real shame, as the amount of energy that each cast member put into this show – was totally amazing.\r\n\r\nThe music was just great listening, and certainly put a smile on your face watching, my mother in fact took a short video of the show, and I hope that we’re not breaching any copyright laws, but I feel that other people should see HOW amazing this show actually is.\r\n\r\nThe show features all percussions from a Triangle to a Drum, and an amazing 10 minute piece to a Xylophone. A Cast of 11 play with their hearts content, this amazing choreographed production though a Romeo and Juliet story set in ‘Noiseland’ world, which expands into the Human world of an old Theatre where the caretaker ‘Mr Bennett’ played by Jack Warner looks after the instruments which are stored there, he’s the one that solves the way which brings back the peace to everyone at Noiseland.\r\n\r\nDrumchasers is an entertaining piece of work, and the skill which is used throughout the show, not just playing the instruments by dancing with them, and making the show come alive is amazing. The Sound was superb, and the Lighting – Wow, It was FANTASTIC! The lighting designer for this show must be very proud, and I Can imagine very fun to design.\r\n\r\nThis is a NEW Show, and I understand why there maybe wasn’t so many people – But, if this show comes near you, it’s 100% worth a watch! Buy Tickets!!\r\n\r\nPLEASE Come back to Torquay Drumchasers!','Talk Torbay','On DrumChasers...\"The music was just great listening...It was immense...\"','inherit','closed','open','','182-revision-6','','','2015-06-17 23:07:36','2015-06-17 23:07:36','',182,'http://www.ethanlewismaltby.com/Home/182-revision-6/',0,'revision','',0),(567,1,'2015-06-17 23:07:36','2015-06-17 23:07:36','By Vera Fletcher\r\n\r\nDrumChasers sells itself as an explosion of sound and light with a story of romance, rivalry and rhythm and it doesn\'t disappoint. Think Romeo and Juliet with drumsticks (and without the poison). The synopsis of the show tells the story of Mr Bennett, a caretaker in an old concert hall who looks after the instruments stored within its walls. However, one night, something happens, something loud and something otherworldly and he is transported to the land of the DrumChasers. I felt this premise got a bit lost within the first ten minutes, Mr Bennett being swiftly cast aside from view and frantic, captivating drumming prevailed. Just when I had almost written off the storyline as a feeble excuse for a night of intoxicating percussion, the soothing tones of Stephen Fry stepped in to narrate and educate the audience on The Noiseland Tale. Aside from the intermittent guidance of Mr Fry this story was told solely through the use of incredibly skilled drumming, expressive dance and imaginative lighting. Armed with drumsticks as weapons, the fight scenes made convincing battles with emotional integrity. The underlying love story was a particular highlight which needed no explanation, proving some of the best stories are wordless.\r\n\r\nThe performance was polished and professional and the story gained in momentum and strength as the show progressed. Mr Bennett too, being given a bit more stage time to ingrain himself in the performance. The drumming was electric and the energy was infectious, at times it took great pains not to jump up and join in from the aisles. Thankfully towards the shows end there was opportunity to participate rhythmically from the safety of your seat which culminated in a loud surge of release from the audience of previously bottled toe tapping and hand clapping.\r\n\r\nAlong the same vein, if you liked Stomp you\'ll love DrumChasers, an uplifting, enjoyable night out even for those with no rhythm.','RemoteGoat','On DrumChasers... \"A night of intoxicating percussion...the energy was infectious, at times it took great pains not to jump up and join in from the aisles.\"','inherit','closed','open','','174-revision-7','','','2015-06-17 23:07:36','2015-06-17 23:07:36','',174,'http://www.ethanlewismaltby.com/Home/174-revision-7/',0,'revision','',0),(568,1,'2015-06-17 23:07:36','2015-06-17 23:07:36','Kentish Gazette – Marlowe Theatre,Canterbury\r\n\r\n \r\n\r\nDrumming up a storm of a show.\r\n\r\n \r\n\r\nThe drummers’ union was out in Canterbury in force last week with an awesome demonstration of percussion and orchestral drumming. My expectations were lowered by the presence of a poster quote, comparing it to the woeful cheese of Riverdance, but thankfully this was so much better.\r\n\r\nNoise Ensemble has grown from its beginnings as a small show at the Edinburgh Fringe to a wonderful show of dance and drums. Actually, mainly drums.\r\n\r\n \r\n\r\nThe 10 percussionists were playing the music ofCanterbury’s Ethan Lewis Maltby in a spectacular display of co-ordination and pure musicianship that had musicians such as myself cursing their overabundance of talent. Beautiful marimba and vibes’ playing mixed with martial snare and tom work and there were comedy interludes with flying drums and cable TV for drummers.\r\n\r\n \r\n\r\nWhy this show has not become as big a hit as rival Stomp, I can’t understand.\r\n\r\n \r\n\r\nReview by Chris Denham','Kentish Gazette','On Noise Ensemble... \"The 10 percussionists were playing the music ofCanterbury’s Ethan Lewis Maltby in a spectacular display of co-ordination and pure musicianship that had musicians such as myself cursing their overabundance of talent. Beautiful marimba and vibes’ playing mixed with martial snare and tom work and there were comedy interludes with flying drums and cable TV for drummers. Why this show has not become as big a hit as rival Stomp, I can’t understand.\"','inherit','closed','open','','454-revision-5','','','2015-06-17 23:07:36','2015-06-17 23:07:36','',454,'http://www.ethanlewismaltby.com/Home/454-revision-5/',0,'revision','',0),(569,1,'2015-06-17 23:07:36','2015-06-17 23:07:36','Southern Echo – The Nuffield, Southampton\r\n\r\n \r\n\r\nForgive me for banging on about how good this is…\r\n\r\n \r\n\r\nIs there nothing this lot can’t do with a drum? After enjoying two hours of percussive genius from Noise Ensemble, I suspect not. You may think that is overly long for a show which is simply based on banging a big instrument with a stick. But there is so much more to it than that.\r\n\r\n \r\n\r\nWe were treated to all manner of things from drumstick throwing to seemingly flying drums and from spinning dance routines to comedy noise sketches. And the on-stage Noise TV screen was showing Drum DIY, drum survival, percussion exercise classes and the drumming world championships. The cast of 10 burst on to stage for this high-energy and incredibly loud display of drumming at its best.\r\n\r\n \r\n\r\nWhat follows is more of a theatrical experience than a musical one – with set changes every few minutes and performers who play everything from marimbas and maracas to triangles and tom-toms. It combines music, dancing, visual effects and even has a sense of humour. It made me wish I was a little better at banging things with a stick.','Southern Echo','On Noise Ensemble... \"Is there nothing this lot can’t do with a drum? After enjoying two hours of percussive genius from Noise Ensemble, I suspect not. You may think that is overly long for a show which is simply based on banging a big instrument with a stick. But there is so much more to it than that.\"','inherit','closed','open','','458-revision-4','','','2015-06-17 23:07:36','2015-06-17 23:07:36','',458,'http://www.ethanlewismaltby.com/Home/458-revision-4/',0,'revision','',0),(570,1,'2015-06-17 23:07:36','2015-06-17 23:07:36','At The Theatre.co.uk - June 2006\r\n\r\n \r\n\r\nA show for everyone, especially those fond of percussion!\r\n\r\n \r\n\r\nA supreme mix of percussion, drama, dance and comedy; this vibrant show bursts on to the stage with raw energy. The show opens amidst a smoke screen, and with its highly animated performers, the show erupts with a fusion of powerful drumbeats.\r\n\r\n \r\n\r\nConsisting of a variety of music, instruments ranging from tambourines to triangles as well as a wide range of drums, the talent of the vigorous performers is more than impressive. With a variety of music, the show cleverly incorporates comedy sketches to suit every composition; as well as a video screen background introducing the characters whilst comically presenting the world of drumming. The performers extensively use the stage space with ferocious movement, whilst the instruments almost transform into characters themselves.\r\n\r\nAlso visually pleasing, the performers depict an impressive visual spectacle during every musical piece, making the show not only rewarding to hear, but also magnificent to watch. With epic beats and a stormy score, the show borders apocalyptic. This masterfully choreographed show leaves the audience in awe. With an impressive range of instruments and 10 incredibly talented and energetic performers, this fast and furious show is a drumming delight.','At The Theatre.co.uk','On Noise Ensemble... \"Also visually pleasing, the performers depict an impressive visual spectacle during every musical piece, making the show not only rewarding to hear, but also magnificent to watch. With epic beats and a stormy score, the show borders apocalyptic. \"','inherit','closed','open','','463-revision-6','','','2015-06-17 23:07:36','2015-06-17 23:07:36','',463,'http://www.ethanlewismaltby.com/Home/463-revision-6/',0,'revision','',0),(571,1,'2015-06-18 20:14:43','2015-06-18 20:14:43','By Jonathan Wilkes\r\n\r\nNoise Ensemble’s epic musical DrumChasers, replacing vocals with percussion, is an explosive display of sound and light. Eleven virtuosic performers with endless energy and talent offered a mesmerising experience and a beautiful story.\r\n\r\nCaretaker at a concert hall, Mr Bennett (Jack Warner), witnesses a doorway opening to a dystopian world where people play percussion instruments, inlcuding drums, xylophones and triangles, as communication. And Noiseland’s inhabitants play extremely well, never missing a beat.\r\n\r\nA Dr Seuss-esque narration by Stephen Fry tells us they are caught in an age-old feud. War is prevented only by the mystical powers of the Noise Wrangler and her purple lightsabres. A blossoming Romeo and Juliet romance and a discovery by Mr Bennett however could lead to peace.\r\n\r\nThe truly spectacular DrumChasers leaves one in awe of how every element worked in exquisite harmony. It perfectly balanced gravitas and self-deprecation so the audience (which should have been bigger) never doubted Noise Ensemble’s soulful tale.\r\n\r\nThe melodious music, accompanied by a spellbinding orchestral and electric score, was extraordinary: powerful, stentorian drumming quickly followed by more melodious, playful flourishes on xylophones and glockenspiels.\r\n\r\nIt had action, romance, poignancy and comedy – a pitch-black performance with glow-in-the-dark levitating drums being especially funny. The industrial set and apocalyptic costumes, and a literally breath-taking lighting design, really enhanced the production.\r\n\r\nSpecial mention must go to Georgina King for the exhilarating choreography and to composer, director and creator Ethan Lewis Maltby.\r\n\r\nHis resplendent production is a profoundly affecting and memorable theatrical experience.\r\n\r\nHere’s hoping the doorway to Noiseland opens again.','The York Press','On DrumChasers...\"The melodious music, accompanied by a spellbinding orchestral and electric score, was extraordinary: powerful...\"','inherit','closed','open','','172-revision-9','','','2015-06-18 20:14:43','2015-06-18 20:14:43','',172,'http://www.ethanlewismaltby.com/Home/172-revision-9/',0,'revision','',0),(572,1,'2015-06-18 20:14:43','2015-06-18 20:14:43','The Stage - Review of Courtenay.\r\n\r\nTouring two prominent south east theatres and focusing on Kent\'s heritage creates a sense of identity for local audiences. However, its appeal would undoubtedly attract a wider audience should Bright Start Productions, in association with the Stag Theatre, Sevenoaks, choose to lengthen their tour. The plot reveals the impulsive Sir William Courtenay, revolutionary and suspected madman. With the energetic strains of Les Miserables, the large cast is headed by Loren Geeting in the title role. It is no surprise Geeting has won awards for his voice as he commands centre stage in both voice and stature. With a Macheath-like charm, Courtenay seduces local protester Sarah Culver (Renée Salewski) though the relationship does not lessen the action. Salewski appears childlike yet her voice reveals a maturity and control demanded of a lead role. Supporting character Katherine Tom (Antonia Bond), Courtenay\'s forgotten wife, appears fleetingly yet captures the sense of the wronged party. Sarah\'s sweetheart Nicholas Mears, played by David Wyatt, is well cast as tragically young and impulsive. Although the scenes seemed more like montages, Christopher Neame\'s script is a good balance of action and romance. George Roman directs and Ethan Lewis Maltby\'s score is beautifully written. This musical sees some spectacular conflict scenes thanks to Paul Romang\'s fight arrangement and the East Kent Living History and Re-Enactment Unit, in full uniform and firing as though their lives really did depend upon it.','The Stage','On Courtenay... \"Christopher Neame\'s script is a good balance of action and romance. George Roman directs and Ethan Lewis Maltby\'s score is beautifully written. This musical sees some spectacular conflict scenes thanks to Paul Romang\'s fight arrangement...\"','inherit','closed','open','','188-revision-13','','','2015-06-18 20:14:43','2015-06-18 20:14:43','',188,'http://www.ethanlewismaltby.com/Home/188-revision-13/',0,'revision','',0),(573,1,'2015-06-18 20:14:43','2015-06-18 20:14:43','By Angie Johnson\r\n\r\nDrumchasers is a fusion of everything that’s great about live performance. It has terrific music and dancing, an intriguing set and one of the best lighting designs I’ve ever seen in the theatre. Above all it has a unique idea that fascinates while it entertains. Featuring every percussion instrument you can think of, and more, this is one fabulous evening out.\r\n\r\nThe story that frames all this expertise revolves around Mr Bennett (an assured performance by Jack Warner offering plenty of comic relief), an elderly Concert Hall caretaker looking after the instrument store, which one night is magically subsumed into the percussive otherworld of the Drumchasers. Energy is the keynote of this show — powerful drumming and dance create an epic world where an eternal battle between two opposing forces is played out with a myriad of different percussion instruments. But as with all good epics, there is also a love story amid the conflict, which allows for the interweaving of sequences using more gentle sounds such as the marimba. It’s a cleverly wrought plot that enables great variation in the sound and dance sequences.\r\n\r\nSometimes it’s loud, stirring or martial, sometimes funny, softly romantic or sad, but it’s always well realised. Importantly, it’s a show that takes its themes seriously but never veers into the pretentious. This is helped by the whimsy-free narration provided by Stephen Fry. The cast of ten are all terrific in both the playing and dancing departments. Each of them have their own intriguing character and accomplished special sequences, and when they come together as an ensemble they are simply mind-blowing. The choreography by Georgina King works fantastically well with the overall vision of Ethan Lewis Maltby, the composer, creator and director.\r\n\r\nThere is also a bit of non-threatening audience participation (synchronised clapping!) which was great fun and made us all feel part of this truly spectacular event. If ever a show deserved a run in the West End it’s this one.','The Oxford Times','On DrumChasers... \"Sometimes it’s loud, stirring or martial, sometimes funny, softly romantic or sad...simply mind-blowing...\"','inherit','closed','open','','176-revision-10','','','2015-06-18 20:14:43','2015-06-18 20:14:43','',176,'http://www.ethanlewismaltby.com/Home/176-revision-10/',0,'revision','',0),(574,1,'2015-06-18 20:14:43','2015-06-18 20:14:43','DrumChasers at the Civic – A New Masterpiece\r\n\r\nBy Andy Bramfitt\r\n\r\nYou know, with all the social media, tweeting, facebook etc I honestly thought that the days of finding a new show for which I had no ideas, expectations or pre-conceptions was sadly over. (To tell you a secret, all my life I have wished I had been in the audience for the first showing of the Rocky Horror Show, way back before the midnight costume parties and the huge cult following but alas no, I was destined just to be a follower.)\r\n\r\nWell after tonight I honestly believe that in years to come I can stand proud and say “Yes, I saw it before they took the West End by storm”.\r\n\r\nEthan Lewis Maltby’s DrumChasers is unlike any other show I have ever seen; a mesmerising blend of unbelievable drumming coupled with beautiful dancing all set to a futuristic tale of power, rivalry and love. Actually, to say its all drumming is doing a grave dis-service to the whole percussion experience including some truly beautiful glokenspiel melodies. This is story-telling-without-words at its best and it had me hooked from the first beat to the very last.\r\n\r\nGeorgina King’s choreography is wonderfully synchronised, evocotive and yet simple, but it’s not until you really watch the stage that you realise that it’s no mean feat to match expressive dance with demanding drumming & exacting rhythms.\r\n\r\nMake no mistake, this is not a show of 10 drummers simply stood on stage; each character has their own story, their own personality which they bring to the fore through genuine acting (there is no dialogue at all which makes the story telling even more engaging) and very quickly you understand the premise of the show, even before Stephen Fry’s narration of the Noiseland Tale (written by Jenna Donnelly) comes in about half way through act 1.\r\n\r\nThe story, without wanting to give too much away, is about a race of people, the Drumchasers from Noiseland, who, through the loss of a worshipped relic become fractured and warring. This relic finds it’s way to earth and is discovered by Mr Bennet, a stage caretaker (played wonderfully by somebody’s grandad – actually its none other than Mr Jack Warner). His unwitting discovery prompts the Drumchasers and their guardian peacekeeper Weckl (deliciously played by the vampish Rachel Stock) to come to earth and continue their rivalry. This is done through what I can only describe as battle drumming, a sort of dance off using percussion.\r\n\r\nThrough all of this we are treated to the impish mischief of Gene (played by Amy Kelly), the macho posturing of Blades & Vinnie (James Hulme & James Godfrey) and an age old story of two lovers from the opposite sides. Playing out like a futuristic West Side Story, Buddy (a very dishy Simon Morgan-Thomas, according to my daughter) and Eve (a very cute Stephanie Clarke) try to unite the two sides but as with all torn-lovers tales, it is far from easy.\r\n\r\nAs the story works towards its conclusion the beats become more frantic, the surprises get bigger and the choreography even more impressive (there’s a great scene set in almost complete darkness – honest, believe me!). I won’t spoil things by telling you the rest of the show, ‘cept to say that you should really seek out this production, take the family and go lose yourself in the rhythm.\r\n\r\nAt the end, once the final curtain came down, there was a quiet sense of awe in the audience, almost like a collective reasoning, like we had shared a moment. We probably had as no-one truly knew what to expect, yet everyone agreed it was awesome.\r\n\r\nThere have been some iconic shows which define or even create their own genres; Riverdance, Cirque de Soliel, The Mousetrap, We Will Rock You – I believe that we have seen another tonight which could do the same – it truly is that special that I urge anyone to treat themselves and go and see it this weekend.','What\'s On Northeast','On DrumChasers...\"It had me hooked from the first beat to the very last.\"','inherit','closed','open','','168-revision-26','','','2015-06-18 20:14:43','2015-06-18 20:14:43','',168,'http://www.ethanlewismaltby.com/Home/168-revision-26/',0,'revision','',0),(575,1,'2015-06-18 20:14:43','2015-06-18 20:14:43','Brighton Argus –  Theatre Royal,Brighton\r\n\r\n \r\n\r\nA Different Drum\r\n\r\n \r\n\r\nThe ten talented percussionists of Noise Ensemble provided an evening that not only fused remarkable sound with brilliant colours but also wove into the routines extraordinary choreographed movement. At times the fervour of the young players echoed the tribal rituals of Africa and theSouth Seas. Every conceivable variety of drum was used along with anything else that could be struck, scraped or shaken. These were backed on occasions by guitar and a soundtrack of electronic music which had an ethereal quality.\r\n\r\n \r\n\r\nThe evening was not all heavy passion – it was laced with gentleness and humour. Subtle and tender sounds came from such instruments as the vibraphone, the xylophone and even the humble triangle, in all its differing sizes. Humour pervaded the evening with a witty send-up of satellite TV channels depicted on a screen at the rear of the stage and several comic numbers. These included a mime using different sounds for various body movements , the boredom of the percussion section as they awaited their brief moments of glory at the end of a symphony and a number where the drummers chased and played their instruments which took on a life of their own as they flew around the stage.\r\n\r\n \r\n\r\nIn highlighting the percussion instruments normally relegated to the back of an orchestra, director and composer, Ethan Lewis Maltby has created a dazzling showcase for these Cinderella instruments. All the instruments shone but the stars of the evening were the drums which throbbed and pulsated throughout. The response of the audience showed that the evening, if you will forgive the pun, was a thumping great success.','Brighton Argus','On Noise Ensemble... \"In highlighting the percussion instruments normally relegated to the back of an orchestra, director and composer, Ethan Lewis Maltby has created a dazzling showcase for these Cinderella instruments. The response of the audience showed that the evening, if you will forgive the pun, was a thumping great success.\"','inherit','closed','open','','460-revision-5','','','2015-06-18 20:14:43','2015-06-18 20:14:43','',460,'http://www.ethanlewismaltby.com/Home/460-revision-5/',0,'revision','',0),(576,1,'2015-06-18 20:14:43','2015-06-18 20:14:43','Mid Hants Observer – Noise Ensemble -  The Nuffield, Southampton\r\n\r\nAn extract from the article/review “Tub thumping”\r\n\r\nIt was with some trepidation that I approached Noise Ensemble, billed as an “international percussion sensation”… Any misgivings I may have had were instantly extinguished when a voice announced that the following performance would contain “graphic beatings and scenes of a percussive nature.” A statement of intent that hinted that Noise Ensemble didn’t take itself too seriously. From this point on we were treated to a riotous evening of non stop entertainment.\r\n\r\nNoise Ensemble is a new and unique twist on musical theatre, with Ethan Lewis Maltby’s score brought vividly to life by a troupe of ten young, beautiful and obscenely talented percussionists. My notes from the night are sketchy at best, a reflection of how much I was enjoying the show. A couple of legible entries mention rock band with xylophones (certainly no bad thing in my book ), the tongue in cheek cable TV-style interludes, and a real ‘vaudevillian feel’ (don’t ask how I wrote that in the dark), with comic interludes reminiscent of traditional circus clowns.\r\n\r\nMusically speaking, there were moments of jaw-dropping beauty, particularly the interplay between marimbas, xylophones and the rest of the percussive arsenal. Noise Ensemble covers a lot of ground. Late in the set we were treated to some 70s style wah-wah guitar and choreography that appeared to pay homage to West Side Story, unsurprising elements when you consider the composer’s background in film scores.\r\n\r\nNoise Ensemble is certainly unique, relentlessly entertaining and shot through with plenty of humour, delivered by an impossibly good looking cast. It’s an energetic show that I would have no hesitation in recommending to audiences of all ages. Another demonstration of The Nuffield’s commitment to original and spectacular productions. On top of that I’ve had to reappraise my relationship with drums and drumming. For now at least.','Mid Hants Observer ','On Noise Ensemble... \"a new and unique twist on musical theatre, with Ethan Lewis Maltby’s score brought vividly to life by a troupe of ten young, beautiful and obscenely talented percussionists. My notes from the night are sketchy at best, a reflection of how much I was enjoying the show.\"','inherit','closed','open','','449-revision-8','','','2015-06-18 20:14:43','2015-06-18 20:14:43','',449,'http://www.ethanlewismaltby.com/Home/449-revision-8/',0,'revision','',0),(577,1,'2015-06-18 20:14:43','2015-06-18 20:14:43','Review by Peter Lathan (2011)\r\n\r\nThe advertising for DrumChasers promises \"an evening quite unlike anything you’ve seen before.\" It is, we are told, \"a musical without words, but with drums.\"\r\n\r\nIt\'s a percussion show, from drum kit to triangle, from gong to xylophone. A cast of eleven (plus voice-over by Stephen Fry) play their carefully and tightly choreographed way through a variant on the Romeo and Juliet story set in a parallel world, Noiseland, which somehow bursts into our world in an old concert hall where caretaker Mr Bennett, played by Jack Warner, looks after the instruments stored there. He is to be the instrument (pun intended) which solves Noiseland\'s age-old problems and bringing back peace.\r\n\r\nAnd that\'s not a spoiler: it\'s in the advertising!\r\n\r\nThis could be the recipe for something cringingly self-indugent, and that feeling was exacerbated by the fact that, because I arrived early and was on my own for this show, I read the programme before it started. There, on the first inside page, was an introduction, written in verse which could have been penned by that master of the appalling rhyme, William McGonagall. My heart sank!\r\n\r\n(Those who don\'t know McGonagall really should look at McGonagall Online and marvel!)\r\n\r\nIf I say that, about a third of the way through the first act, these words are spoken by Stephen Fry, you will realise - as I did at that moment - that this is not a show that takes itself too seriously. Indeed, it is shot through with self-deprecating humour, subverting any expectation that we are going to get a tragedy - or even a melodrama. And it gets that balance between humour and the seriousness required to interest us in the story exactly right.\r\n\r\nWhat DrumChasers actually is is very entertaining, even for those who are not particularly interested in percussion. The skill, talent and commitment of the performers are amazing and the lighting - inevitably very rock concert influenced - impressive. The movement of the instruments on, off and around the stage (by the cast) is smooth and quick and the costumes and make-up were close to but not exactly of this world, nicely contrasted with Mr Bennett\'s brown coat and flat cap. I did wonder if the sticks which the Noise Wrangler uses to control her people were meant to remind us of Jedi light sabres. They certainly did me.\r\n\r\nBut it is the performances which will stick in the memory. There was a number (I can\'t think of any other word) in which two opposing faction members fought each other, circling back and forth round two xylophones placed centrestage and never missing a note or even for a second losing their confrontational body language and expressions. And a comic highlight was a duel between two triangle playing cast members.\r\n\r\nGreat fun!','Great British Theatre','On DrumChasers...\" very entertaining, even for those who are not particularly interested in percussion. The skill, talent and commitment of the performers are amazing and the lighting - inevitably very rock concert influenced - impressive. \"','inherit','closed','open','','184-revision-9','','','2015-06-18 20:14:43','2015-06-18 20:14:43','',184,'http://www.ethanlewismaltby.com/Home/184-revision-9/',0,'revision','',0),(578,1,'2015-06-18 20:14:43','2015-06-18 20:14:43','Long after the smoke has drifted from the battlefield, audiences will remember Courtenay.\r\n\r\nThis musical plucked from the Kentish history books - and fashioned into a sophisticated entertainment by a composer and lyricist relatively new to the genre – deserves its place on a wider stage.\r\n\r\nBy turns exciting and tender, thought-provoking and uplifting, Courtenay is set around 20 years after the Peterloo massacre and looks behind the curious story of the last battle to be fought on English soil and makes a cracking, three-dimensional show of it. Composer, orchestrator and musical director, Ethan Lewis Maltby, not yet 30 but nevertheless a self-confessed fan of the swashbuckling era, has sewn a rich seam of interwoven themes throughout the two acts. His music hits spot.\r\n\r\nWhile paying plentiful homage to his first musical love, percussion, the score has pace, vitality and, dare I say it, hummability and while that may not be fashionable it certainly helps to convince ticket-buyers that they have had their money’s worth. See a show and take a tune away with you is no bad slogan even for a modern musical.\r\n\r\nEach of the central characters in Courtenay has a haunting theme of his or her own which blend to great effect at moments of tenderness, for this show is not all about dreams of the 19th century working man finding his true worth under the sleety, unforgiving gaze of establishment figures.\r\n\r\nLyricist Christopher Neame has taken a complex subject and given a perspective to Courtenay\'s story that many historians have discarded in favour of a simplistic view that the protagonist was mad and all his followers simple. The lyrics, particularly those given to Courtenay are intelligent without being polemical.\r\n\r\nAt the opening at Canterbury’s Marlowe Theatre on Thursday it was hard to find any chinks in this emotive story of one man\'s slide from visionary enthusiasm to self-delusion and destruction. There were some technical problems, chiefly with the sound balance, but the principals and ensemble worked together to produce a first night to be proud of.\r\n\r\nThe show is fortunate in having a trio of voices at the top that would match the best the West End has to offer. Loren Geeting as Courtenay, Renée Salewski as the object of his desire, Sarah Culver and David Wyatt as Nicholas Mears, the lover cast aside by Culver for Courtenay’s more dazzling attractions, are a class act. Wyatt has a voice that we will hear again and again if the scouts are doing their job and Geeting and Salewski both live up to their credentials.\r\n\r\nLindsey Mack as the Canterbury Marshal, Captain Townsend, cuts a dash darkly as the man who is out to thwart Courtenay\'s egalitarian ambitions. His presence is like that of a sinister crow. Antonia Bond generates tenderness as the wife Courtenay left behind, struggling to understand her husband’s wild side and Anthony Garner provides a solid presence as the narrator Everyman who guides the audience, many of whom will be unfamiliar with the story, carefully and unobtrusively.\r\n\r\nSet design is also instrumental to the success of this show. Veteran film and TV designer Roy Stannard, a newcomer to the theatre whose credits include David Lean\'s Lawrence of Arabia, has produced a simple, yet effective raked platform in which most of the action is concentrated, focusing the attention perfectly.\r\n\r\nAll this is overseen by a reaper, a simple agricultural machine seen as the means by which the landowner will emasculate the labourer.\r\n\r\nAs the show opens, the machine, cast as the grim reaper, dominates a stark scene as the countrysiders who will come to follow Courtenay, scrape a living from the soil while sinister clouds drift across the landscape. The climate of fear is brought home by blood-red effects schemed by Ben M Rogers, a lighting designer with many West End and international credits to his name, whose skills help to create Courtenay\'s many memorable moods.\r\n\r\nThis homespun show is something Kent can be proud of and one that audiences anywhere would appreciate. Surely local history was never this alive, or so worthy of the standing ovation it got on Thursday.\r\n\r\nRussell Flint','Kent on Sunday','On Courtenay... \"By turns exciting and tender, thought-provoking and uplifting, Courtenay is set around 20 years after the Peterloo massacre and looks behind the curious story of the last battle to be fought on English soil and makes a cracking, three-dimensional show of it. Composer, orchestrator and musical director, Ethan Lewis Maltby, not yet 30 but nevertheless a self-confessed fan of the swashbuckling era, has sewn a rich seam of interwoven themes throughout the two acts. His music hits spot.\"','inherit','closed','open','','225-revision-10','','','2015-06-18 20:14:43','2015-06-18 20:14:43','',225,'http://www.ethanlewismaltby.com/Home/225-revision-10/',0,'revision','',0),(579,1,'2015-06-18 20:14:43','2015-06-18 20:14:43','It is not very often that one gets to see a world premiere, especially a world premiere in Blackpool, so we were delighted to be able to go and see the first ever performance of the new percussion based musical DrumChasers at the Blackpool Grand Theatre. Having not seen the previous “Noise Ensemble” we really did not know what to expect and went along with completely open minds. Think Ultravox (John Foxx version) do Coppelia, Doctor Who does West Side story and the Terminator meets Les Mis and you’re part way there.\r\n\r\nOddly enough, the caretaker - Mr Bennett - who starts off looking like a bedraggled Blakey out of “On The Buses” -ends up the hero in this tale of factions of warring musicians from another world, which is delightfully narrated by an absently bodied Stephen Fry. Apart from Fry’s outlining of the story, there are no words at all – no dialogue, no singing, more akin to a ballet in fact, relying purely on expressive dance routines and plenty of percussion as the story is told through a succession of musical numbers of varying dramatic gravitas. But this is not just two hours of mindless heavy drumming by any means. In a well balanced score that could easily grace a Hollywood sci fi blockbuster, we have a drummers duel, a piece played solely on the triangle and a romantic glockenspiel moment . There are several enchanting xylophone melodies – bringing to mind dreamy images of tropical rain forests or trickling streams or wherever your own thoughts might take you, carried off by the music.\r\n\r\nAwesome! Spellbinding! Magical! DrumChasers puts you in touch with the primitive being inside you, and in two of the numbers the audience were invited to join in. We loved every minute – from start to finish a fantastic fairytale. Marvellous choreography – the grim set and the war scenes were reminiscent of Les Miserables. Superb performances from talented and versatile musicians/dancers. If only we could somehow learn to harness the energy generated by the dynamic performers on the set of DrumChasers we could indeed save the world from nuclear meltdown. This is not mainstream theatre by any means but all the same absolutely unmissable. Please go and see it.','Best Kept Secrets','On DrumChasers...\"Awesome! Spellbinding! Magical!...There are several enchanting xylophone melodies – bringing to mind dreamy images of tropical rain forests or trickling streams or wherever your own thoughts might take you, carried off by the music.\"','inherit','closed','open','','186-revision-7','','','2015-06-18 20:14:43','2015-06-18 20:14:43','',186,'http://www.ethanlewismaltby.com/Home/186-revision-7/',0,'revision','',0),(580,1,'2015-06-18 20:14:43','2015-06-18 20:14:43','WHAT A Show, Drumchasers has certainly promised a great evenings entertainment in Torquay – This is something that you’ve NEVER Seen before, it is a Musical, without words – but a Hell of a lot of drums!!\r\n\r\nFeaturing the Voice of Stephen Fry, this show has everything, Music, Action, Comedy, Fun, Energy! It was immense. I was so glad to be able to see this show in Torquay, it was a shame to see that the 1,500 seater venue was only a third full, which was a real shame, as the amount of energy that each cast member put into this show – was totally amazing.\r\n\r\nThe music was just great listening, and certainly put a smile on your face watching, my mother in fact took a short video of the show, and I hope that we’re not breaching any copyright laws, but I feel that other people should see HOW amazing this show actually is.\r\n\r\nThe show features all percussions from a Triangle to a Drum, and an amazing 10 minute piece to a Xylophone. A Cast of 11 play with their hearts content, this amazing choreographed production though a Romeo and Juliet story set in ‘Noiseland’ world, which expands into the Human world of an old Theatre where the caretaker ‘Mr Bennett’ played by Jack Warner looks after the instruments which are stored there, he’s the one that solves the way which brings back the peace to everyone at Noiseland.\r\n\r\nDrumchasers is an entertaining piece of work, and the skill which is used throughout the show, not just playing the instruments by dancing with them, and making the show come alive is amazing. The Sound was superb, and the Lighting – Wow, It was FANTASTIC! The lighting designer for this show must be very proud, and I Can imagine very fun to design.\r\n\r\nThis is a NEW Show, and I understand why there maybe wasn’t so many people – But, if this show comes near you, it’s 100% worth a watch! Buy Tickets!!\r\n\r\nPLEASE Come back to Torquay Drumchasers!','Talk Torbay','On DrumChasers...\"The music was just great listening...It was immense...\"','inherit','closed','open','','182-revision-7','','','2015-06-18 20:14:43','2015-06-18 20:14:43','',182,'http://www.ethanlewismaltby.com/Home/182-revision-7/',0,'revision','',0),(581,1,'2015-06-18 20:14:43','2015-06-18 20:14:43','By Vera Fletcher\r\n\r\nDrumChasers sells itself as an explosion of sound and light with a story of romance, rivalry and rhythm and it doesn\'t disappoint. Think Romeo and Juliet with drumsticks (and without the poison). The synopsis of the show tells the story of Mr Bennett, a caretaker in an old concert hall who looks after the instruments stored within its walls. However, one night, something happens, something loud and something otherworldly and he is transported to the land of the DrumChasers. I felt this premise got a bit lost within the first ten minutes, Mr Bennett being swiftly cast aside from view and frantic, captivating drumming prevailed. Just when I had almost written off the storyline as a feeble excuse for a night of intoxicating percussion, the soothing tones of Stephen Fry stepped in to narrate and educate the audience on The Noiseland Tale. Aside from the intermittent guidance of Mr Fry this story was told solely through the use of incredibly skilled drumming, expressive dance and imaginative lighting. Armed with drumsticks as weapons, the fight scenes made convincing battles with emotional integrity. The underlying love story was a particular highlight which needed no explanation, proving some of the best stories are wordless.\r\n\r\nThe performance was polished and professional and the story gained in momentum and strength as the show progressed. Mr Bennett too, being given a bit more stage time to ingrain himself in the performance. The drumming was electric and the energy was infectious, at times it took great pains not to jump up and join in from the aisles. 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With a variety of music, the show cleverly incorporates comedy sketches to suit every composition; as well as a video screen background introducing the characters whilst comically presenting the world of drumming. The performers extensively use the stage space with ferocious movement, whilst the instruments almost transform into characters themselves.\r\n\r\nAlso visually pleasing, the performers depict an impressive visual spectacle during every musical piece, making the show not only rewarding to hear, but also magnificent to watch. With epic beats and a stormy score, the show borders apocalyptic. This masterfully choreographed show leaves the audience in awe. 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(KHTML, like Gecko) Version/8.0.4 Safari/600.4.10','GBP',NULL,NULL,NULL,NULL,NULL,NULL,NULL),(71,1,NULL,'2015-12-10 11:08:06',0,0,'31.49.183.186','http://www.ethanlewismaltby.com/Home/','Mozilla/5.0 (Macintosh; Intel Mac OS X 10_8_5) AppleWebKit/600.2.5 (KHTML, like Gecko) Version/6.2.2 Safari/537.85.11','GBP',NULL,NULL,NULL,NULL,NULL,NULL,NULL),(72,1,NULL,'2016-01-15 07:15:11',0,0,'86.173.207.92','http://www.ethanlewismaltby.com/Home/','Mozilla/5.0 (Macintosh; Intel Mac OS X 10_10_5) AppleWebKit/601.3.9 (KHTML, like Gecko) Version/9.0.2 Safari/601.3.9','GBP',NULL,NULL,NULL,NULL,NULL,NULL,NULL),(73,1,NULL,'2016-09-03 01:16:09',0,0,'69.121.241.107','http://www.ethanlewismaltby.com/Home/','Mozilla/5.0 (Macintosh; Intel Mac OS X 10_10_5) AppleWebKit/601.2.7 (KHTML, like Gecko) Version/9.0.1 Safari/601.2.7','GBP',NULL,NULL,NULL,NULL,NULL,NULL,NULL); /*!40000 ALTER TABLE `wp_rg_lead` ENABLE KEYS */; UNLOCK TABLES; -- -- Table structure for table `wp_rg_lead_detail` -- DROP TABLE IF EXISTS `wp_rg_lead_detail`; /*!40101 SET @saved_cs_client = @@character_set_client */; /*!40101 SET character_set_client = utf8 */; CREATE TABLE `wp_rg_lead_detail` ( `id` bigint(20) unsigned NOT NULL AUTO_INCREMENT, `lead_id` int(10) unsigned NOT NULL, `form_id` mediumint(8) unsigned NOT NULL, `field_number` float NOT NULL, `value` varchar(200) DEFAULT NULL, PRIMARY KEY (`id`), KEY `form_id` (`form_id`), KEY `lead_id` (`lead_id`) ) ENGINE=MyISAM AUTO_INCREMENT=214 DEFAULT CHARSET=utf8; /*!40101 SET character_set_client = @saved_cs_client */; -- -- Dumping data for table `wp_rg_lead_detail` -- LOCK TABLES `wp_rg_lead_detail` WRITE; /*!40000 ALTER TABLE `wp_rg_lead_detail` DISABLE KEYS */; INSERT INTO `wp_rg_lead_detail` (`id`, `lead_id`, `form_id`, `field_number`, `value`) VALUES (1,1,1,3,'jenna'),(2,1,1,2,'jenna_donnelly@yahoo.co.uk'),(3,1,1,4,'test'),(4,2,1,3,'jenna'),(5,2,1,2,'jenna_donnelly@yahoo.co.uk'),(6,2,1,4,'test'),(7,3,1,3,'Ben Knight'),(8,3,1,2,'benknight73@gmail.com'),(9,3,1,4,'Hi Ethan,\r\n\r\nI am a Music Industry Management student at Canterbury Christ Church University in Kent, and for my course I am required to write a lengthy dissertation whilst working with an organisatio'),(10,4,1,3,'jenna'),(11,4,1,2,'jenna_donnelly@yahoo.co.uk'),(12,4,1,4,'test email from www.ethanlewisbum.com'),(13,5,1,3,'Peter Cohen'),(14,5,1,2,'peter.cohen@simmons-simmons.com'),(15,5,1,4,'Hi Ethan,\r\n\r\nYou might remember we worked together on \'Mr Happy\' and \'My Precious Valentine\' 10 years ago…..\r\n\r\nPlease could you give me a call ASAP on 07986 362 447. Feel free to call as late as yo'),(16,6,1,3,'MOl'),(17,6,1,2,'mollatt@yahoo.com'),(18,6,1,4,'Hi Ethan \r\n\r\nLike the website. On a different note Linda has a problem that her pianist has been off and might not do a show at school. She may need someone who might be able to busk Godspell in broad'),(19,7,1,3,'James Uings'),(20,7,1,2,'james.uings@gmail.com'),(21,7,1,4,'Hi, \r\n\r\nLouis Newell gave your details and said you might be interested in some work. \r\n\r\nI wondered if you might be up for composing a piece for the new Rockschool Piano Syllabus?\r\n\r\nIf you are inte'),(22,8,1,3,'charlotte mounter'),(23,8,1,2,'c.mounter@btinternet.com'),(24,8,1,4,'Hi Ethan,\r\n\r\nHow are you? I appear to have lost your email!:?\r\n\r\nI was wondering if you know of any reasonably priced singing teachers based in Canterbury? I am going up for a few Musicals and need a '),(25,9,1,3,'Sally Chittenden'),(26,9,1,2,'s-chittenden@hotmail.com'),(27,9,1,4,'Hello\r\nMy name is Sally Chittenden and I am a film, radio and television student from Canterbury Christchurch University. I am the sound designer of a student production team that is making a 30 secon'),(28,10,1,3,'James Essinger'),(29,10,1,2,'james@canterburyliteraryagency.com'),(30,10,1,4,'Hi Ethan, Grenville Hancox mentioned your name to me this morning. I am looking for a composer for a musical I want to write about Ada Lovelace. I am a professional writer and I think Ada would be a f'),(31,11,1,3,'Daisuke Kimura'),(32,11,1,2,'dice4114@yahoo.co.jp'),(33,11,1,4,'Nice to meet you\r\nMy name is Daisuke Kimura of Japan.\r\nI graduated from the University of percussion music Senzokugakuenn, now, I have a performance activity.\r\nI love the \"Face Off\" was composed by yo'),(34,12,1,3,'Greg Scott'),(35,12,1,2,'greg@worldbymusic.com'),(36,12,1,4,'Hi Ethan\r\n\r\nI wanted to make an enquiry with you as to if you would be available to compose and produce the music for my new Show which I am performing around the world on Celebrity Cruises, Cunard an'),(37,13,1,3,'Kimiko'),(38,13,1,2,'Katherine.lanier12@yahoo.com'),(39,13,1,4,'I heard some of your music on a highway man animation I was wondering if you could tell me the name of the music it was absolutely beautiful and amazing!'),(40,14,1,3,'Fionnghuala Ni Neill'),(41,14,1,2,'neillf@iadt.ie'),(42,14,1,4,'Dear Mr. Maltby,\r\n\r\nWould it be possible to call you tomorrow to discuss the possibility of you giving a masterclass at the Blackrock Animation Film Festival in Dublin, Ireland? We would be holding it'),(43,15,1,3,'David Manning'),(44,15,1,2,'Dave@manning6.orangehome.co.uk'),(45,15,1,4,'Dear Mr Maltby\r\nI am trying to obtain the music from \'Drumchasers\' for my Primary school dance lessons. \r\nCould you please tell how I obtain the cd?\r\nMany Thanks\r\nDavid Manning'),(46,16,1,3,'Sivetyone Ky'),(47,16,1,2,'paul.vilain6@orange.fr'),(48,16,1,4,'Bonjour Mr Ethan Lewis Maltby. Je suis un jeune youtuber de 12 ans et j\'ai utilisé une de vos musiques sans savoir que je n\'en n\'avait pas le droit.Pour des questions de droits d\'auteur ma vidéo a '),(49,17,1,3,'Lance Nomura'),(50,17,1,2,'accounts@musicteachers.co.uk'),(51,17,1,4,'Dear Ethan Maltby,\r\n\r\nWe recently received a declaration form signed by you in support of Jenna Donnelly and her BA (Hons) in Commercial Music qualification from Canterbury Christchurch University. We'),(52,18,1,3,'MCPS'),(53,18,1,2,'melanie.priddie@mcps.co.uk'),(54,18,1,4,'Hello, can you please contact us regarding an unpaid invoice for C3U Records for £11.59. A copy of this was emailed to ethan.maltby@talktalk.net on 18.7.13 -can you please contact us via email or on '),(55,19,1,3,'Mulberry Handbags Sale'),(56,19,1,2,'lmngkpzgf@gmail.com'),(57,19,1,4,'Mulberry Handbags Outlet\r\nMulberry Bags Outlet\r\nMulberry Bags Sale\r\nMulberry Handbags Sale\r\nMulberry outlet sale\r\nMulberry On Sale\r\nMulberry Handbags Sale\r\nMulberry Sale UK\r\nMulberry Bags UK\r\nMulberry'),(58,20,1,3,'bottes enfants geox'),(59,20,1,2,'ipentn@gmail.com'),(60,20,1,4,'I read through some of your put up and I learned a good deal of expertise from it. 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I don\'t know if you recall we spoke at length at one point about some theatre stuff I was involved with. \r\n\r\nTo bring you up to date, I last year wrote a horror comedy '),(82,30,1,3,'Lisa'),(83,30,1,2,'mamwxsxcu@gmail.com'),(84,30,1,4,'We have decided to open our POWERFUL and PRIVATE website traffic system to the public for a limited time! You can sign up for our UP SCALE network with a free trial as we get started with the public\'s'),(85,31,1,3,'Donna Gabriel'),(86,31,1,2,'donnagabriel986@gmail.com'),(87,31,1,4,'Do you want to grow your business? Do you have serious, defined sales goals? 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Is there some way one could obtain the sheet music? It\'s such a beautiful song! \r\n\r\n'),(181,63,1,3,'Phil'),(182,63,1,2,'beatlemania357@gmail.com'),(183,63,1,4,'Hi, I have recently viewed and listened to \"Own this World,\" which I think is fantastic, and I was wondering if there is an instrumental version that I could buy?\r\n\r\nKind Regards\r\n\r\n\r\nPhil'),(184,64,1,3,'Phil'),(185,64,1,2,'beatlemania357@gmail.com'),(186,64,1,4,'Hi, I have recently viewed and listened to \"Own this World,\" which I think is fantastic, and I was wondering if there is an instrumental version that I could buy?\r\n\r\nKind Regards\r\n\r\n\r\nPhil'),(187,65,1,3,'Phil'),(188,65,1,2,'beatlemania357@gmail.com'),(189,65,1,4,'Hi,\r\n\r\n\r\n\r\n\r\nThanks for your quick response.\r\n\r\nYes, it would be for my daughter to perform to, it\'s such a lovely song and many of the lyrics are so meaningful to her life!\r\n\r\n\r\n\r\n\r\nKind Regards\r\n\r\n\r'),(190,66,1,3,'Phil'),(191,66,1,2,'beatlemania357@gmail.com'),(192,66,1,4,'Hi Ethan,\r\n\r\n\r\n\r\nThe track would be great, I don\'t want to put you to too much trouble!\r\n\r\n\r\n\r\nKind Regards\r\n\r\n\r\n\r\n\r\n\r\nPhil'),(193,67,1,3,'Joseph Fernandez'),(194,67,1,2,'digitalonlineseomarktng@gmail.com'),(195,67,1,4,'Dear Ethanlewismaltby.com,\r\n\r\nI would like to take a few minutes from your schedule and ask for your attention towards Organic search engine traffic for your website : www.Ethanlewismaltby.com.\r\n\r\nAs '),(196,68,1,3,'Matt Fisher'),(197,68,1,2,'matt@mattfisherdrums.com'),(198,68,1,4,'Dear Ethan,\r\n\r\nI was just wondering if the noise ensemble is still touring and if you are ever looking for new members? If so I would be very interested in auditioning. I am a drummer / percussionist,'),(199,69,1,3,'sandanski'),(200,69,1,2,'cccp1995@naver.com'),(201,69,1,4,'please saving the UEFA europa league opening ceremony showtrack and award ceremony track part.1 and part.2 in your soundcloud.'),(202,70,1,3,'Macleish Day'),(203,70,1,2,'macleish_day@yahoo.com'),(204,70,1,4,'Hello Mr. Maltby,\r\nMy name is Macleish Day and I am a producer and actor of Film. I wanted to inquire if you would do me and the fellow producers of The Highwayman the honors of being our film Compose'),(205,71,1,3,'Simone Grinyer'),(206,71,1,2,'nigel.grinyer@btinternet.com'),(207,71,1,4,'Dear Mr Maltby, We are wondering if it is possible purchase the sheet music for \"Helpless\" (or indeed, for all the songs in \"Battle of the Boat\"). Helpless is a beautiful song and my 15 year old daug'),(208,72,1,3,'Michele Wallis '),(209,72,1,2,'michelecwallis@yahoo.co.uk'),(210,72,1,4,'Dear Mr Maltby \r\n\r\nMy daughter and I love your and Ms Donnelly\'s musical Battle of Boat. Its simply beautiful. Is there a place where we can purchase the sheet music for the Musical? Or just the son'),(211,73,1,3,'Doniella Taylor'),(212,73,1,2,'Della42003@gmail.com'),(213,73,1,4,'Hi,\r\n I would like to know if the sheet music for own this world is available?\r\n Thank You'); /*!40000 ALTER TABLE `wp_rg_lead_detail` ENABLE KEYS */; UNLOCK TABLES; -- -- Table structure for table `wp_rg_lead_detail_long` -- DROP TABLE IF EXISTS `wp_rg_lead_detail_long`; /*!40101 SET @saved_cs_client = @@character_set_client */; /*!40101 SET character_set_client = utf8 */; CREATE TABLE `wp_rg_lead_detail_long` ( `lead_detail_id` bigint(20) unsigned NOT NULL, `value` longtext DEFAULT NULL, KEY `lead_detail_key` (`lead_detail_id`) ) ENGINE=MyISAM DEFAULT CHARSET=utf8; /*!40101 SET character_set_client = @saved_cs_client */; -- -- Dumping data for table `wp_rg_lead_detail_long` -- LOCK TABLES `wp_rg_lead_detail_long` WRITE; /*!40000 ALTER TABLE `wp_rg_lead_detail_long` DISABLE KEYS */; INSERT INTO `wp_rg_lead_detail_long` (`lead_detail_id`, `value`) VALUES (9,'Hi Ethan,\r\n\r\nI am a Music Industry Management student at Canterbury Christ Church University in Kent, and for my course I am required to write a lengthy dissertation whilst working with an organisation. Whilst I am not able to divulge the identity of the organisation in question, I have a title prepared which is: “This report will investigate the organisations dilemma regarding the impact that Musicians Union Regulations, both nationally and internationally, might have on a composer(s) choice of where to record their film score.” To even begin this report I require access to the concerned regulations, so I can work alongside them, creating a structured flow to my project. I do not wish to criticise the regulations in any way, only use them to give feedback on how an organisation can improve their efficiency.\r\n\r\nRob Stillman informed me you may have some knowledge on this subject. Any help with this matter would be greatly appreciated, \r\n\r\nMany thanks, \r\n\r\nBen Knight.\r\n\r\nCanterbury Christ Church University. '),(15,'Hi Ethan,\r\n\r\nYou might remember we worked together on \'Mr Happy\' and \'My Precious Valentine\' 10 years ago…..\r\n\r\nPlease could you give me a call ASAP on 07986 362 447. Feel free to call as late as you like.\r\n\r\nThanks very much.\r\n\r\nPeter Cohen\r\n'),(18,'Hi Ethan \r\n\r\nLike the website. On a different note Linda has a problem that her pianist has been off and might not do a show at school. She may need someone who might be able to busk Godspell in broadstairs (tomorrow 29th and 30th) Paid obviously. Don\'t know if you have any contacts or ideas. My number is 07939596268. Apologies for contacting you this way but seem to have mislaid you numbers. I hope you are well. Mol '),(21,'Hi, \r\n\r\nLouis Newell gave your details and said you might be interested in some work. \r\n\r\nI wondered if you might be up for composing a piece for the new Rockschool Piano Syllabus?\r\n\r\nIf you are interested, send me your email and I will send you the relevant forms, which contain all the details you need. \r\n\r\nAs far as money goes all the work upfront is unpaid, Rockschool pay on a royalty basis, for at least the duration of the syllabus which is six years. I can\'t promise any figures as it depends on sales. It\'s certainly worth around £300-400 per track over the six years. If this submission works out like I think it will, there will certainly be more work.\r\n\r\nAs long as you follow the spec and the commission, you should have no problems getting the commission accepted, but I must warn you we have rejected a lot of pieces in the past, so please send me early drafts so I can check you\'re on the right track!\r\n\r\nThe most successful people are those who send me early drafts and aren\'t afraid/don\'t get angry because they have to edit.\r\n\r\nLet me know if this is something you are interested in and I will send you more details.\r\n\r\nJames Uings\r\nRockschool Publishing Manager '),(24,'Hi Ethan,\r\n\r\nHow are you? I appear to have lost your email!:?\r\n\r\nI was wondering if you know of any reasonably priced singing teachers based in Canterbury? I am going up for a few Musicals and need a few lessons.\r\n\r\nMuch appreciated,\r\n\r\nCharlotte\r\n\r\nwww.charlottemounter.com '),(27,'Hello\r\nMy name is Sally Chittenden and I am a film, radio and television student from Canterbury Christchurch University. I am the sound designer of a student production team that is making a 30 second advertisement for the NAHEMI/KODAK Student Commercial Awards, and we were wondering if you would please help us compose some music for our piece.\r\n\r\nThe product that we are going to advertise is a pair of Babyliss Super Clippers (http://www.babyliss.co.uk/babyliss-men/super-clipper/) but we are not going to use the conventional clichés that are often associated with male grooming products, instead we are going to be working with the notion of Japanese Steel that was so emphasized in the brief. Here is our own brief on our story ideas and the style of music, which we are interested in. \r\n\r\nLength: 30 seconds\r\nTheme: Traditional Japanese drums, samurai war music. \r\nTone: Exciting, rhythmic\r\nDescription of scene:\r\nBegins similar to a typical cliché man grooming product advert with a masculine but slightly untidy man walking up to a steamed up mirror. As he prepares to shave, getting out the Babyliss Super shaver he wipes his hand across the mirror. In the reflection a masked figure peers over his shoulder. The masked figure attacks with a samurai sword, but the man dodges and weaves the blows whilst continuing to shave. Upon the third blow of the sword the man, who has finished shaving and is now suitably groomed turns around a blocks the sword with such a force that it disarms the figure. The figure who is impressed by both the strength of his shaver and the looks/skill of the man yields. Reveal the Babyliss logo on the clippers. The figure takes off the mask revealing long black hair, the figure is an beautiful Japanese woman who walks up to the man and strokes his face. End with logo and steam. \r\n\r\nDescription of wanted music:\r\nThe beginning of the track should be calm and smooth to imitate the ‘normal’ style of advert for this type of product. However upon the reveal of the warrior the music should some to a crescendo, the beats of the drums flowing with the moves of the blows of the swords. \r\nExamples\r\nhttp://www.youtube.com/watch?v=nf6gP3K3w5c&feature=related\r\nhttp://www.youtube.com/watch?v=iGb1H0081lw\r\nhttp://www.youtube.com/watch?v=SDCOw5xW8bA\r\n \r\nWe would be honoured if you would help us create an exciting and unique take on the brief, and we would credit you fully for all the music in the advertisement.. \r\nIf for some reason you cannot do this then we fully understand and appreciate that you must have a busy work schedule. \r\n\r\nWishing you the best of luck and success in all your ongoing and future projects. \r\n\r\nYours Sincerely\r\nSally Chittenden'),(30,'Hi Ethan, Grenville Hancox mentioned your name to me this morning. I am looking for a composer for a musical I want to write about Ada Lovelace. I am a professional writer and I think Ada would be a fabulous subject for a musical. I have listened to two of your pieces this morning and I loved them. Can we talk when convenient?\r\n\r\nWe are near neighbours I gather.\r\n\r\nBest regards\r\n\r\nJames\r\n\r\n\r\nJames Essinger\r\n43 Nunnery Fields\r\nCanterbury\r\nCT1 3JT\r\n \r\nTel: 01227 472874\r\nMob: 07831 259889\r\n\r\n'),(33,'Nice to meet you\r\nMy name is Daisuke Kimura of Japan.\r\nI graduated from the University of percussion music Senzokugakuenn, now, I have a performance activity.\r\nI love the \"Face Off\" was composed by you.\r\nI want to play,Is it possible to buy the sheet　music of this song is me?\r\n\r\n'),(36,'Hi Ethan\r\n\r\nI wanted to make an enquiry with you as to if you would be available to compose and produce the music for my new Show which I am performing around the world on Celebrity Cruises, Cunard and Royal Caribbean.\r\n\r\nMy name is Greg Scott (Violinist) and I can be contacted on my email address.\r\n\r\nI saw Drumchasers in Oxford and was really impressed with your work. lease see more about me on www.gregscott.info\r\n\r\nI\'m back in the Uk in December and would be interested in meeting up with you to discuss further. I love your percussive, original style and am also a massive fan of the music by Yanni. My project would be to create a new show and Cd that I could sell on the cruise ships. At the moment I normally sell 50 per show, which I would be happy to make a deal with you on.\r\n\r\nLook forward to hearing from you.\r\n\r\nGreg'),(42,'Dear Mr. Maltby,\r\n\r\nWould it be possible to call you tomorrow to discuss the possibility of you giving a masterclass at the Blackrock Animation Film Festival in Dublin, Ireland? We would be holding it on the 11th and 12th of October 2013. \r\n\r\nMy contact numbers are 0035312394750/00353863209697 or if you could send me your contact number, I would be very grateful.\r\n\r\nKind regards,\r\n\r\nFionnghuala Ni Neill,\r\nDun Laoghaire College of Art, Design and Technology, Dublin, Ireland'),(48,'Bonjour Mr Ethan Lewis Maltby. Je suis un jeune youtuber de 12 ans et j\'ai utilisé une de vos musiques sans savoir que je n\'en n\'avait pas le droit.Pour des questions de droits d\'auteur ma vidéo a été supprimée sans que je puisse vous demander l\'accord pour utiliser votre musique.\r\nDonc cher monsieur je voulais vous demander votre accord pour utiliser cette musique \"Begin The Odyssey\" et bien sûr en inscrivant votre nom et noter l\'adresse de votre site (ma vidéo a fait plus de 1000 vues).\r\nVotre accord serai ma plus grande joie.\r\nAvec toute mon attention.\r\nSivetyone Ky'),(51,'Dear Ethan Maltby,\r\n\r\nWe recently received a declaration form signed by you in support of Jenna Donnelly and her BA (Hons) in Commercial Music qualification from Canterbury Christchurch University. We now list this qualification as verified by our service. Please would you let us know that you are happy with this information. As part of our compliance process, we cross check all such declarations.\r\nMany thanks for your help.\r\n\r\nWith best wishes,\r\n\r\nLance\r\n\r\nMusicTeachers.co.uk'),(54,'Hello, can you please contact us regarding an unpaid invoice for C3U Records for £11.59. A copy of this was emailed to ethan.maltby@talktalk.net on 18.7.13 -can you please contact us via email or on 0208 378 7399 to discuss - Thank you'),(57,'Mulberry Handbags Outlet\r\nMulberry Bags Outlet\r\nMulberry Bags Sale\r\nMulberry Handbags Sale\r\nMulberry outlet sale\r\nMulberry On Sale\r\nMulberry Handbags Sale\r\nMulberry Sale UK\r\nMulberry Bags UK\r\nMulberry Bags Sale\r\nMulberry Handbags UK\r\nMulberry Sale\r\nMulberry Bags\r\nMulberry Handbags\r\nMulberry Handbags Sale http://www.hk-iscap.net'),(75,'You need targeted visitors for your website so why not try some for free? There is a VERY POWERFUL and POPULAR company out there who now lets you try their website traffic service for 7 days free of charge. I am so glad they opened their traffic system back up to the public! Check it out here: http://accessfree.info/1dxc'),(81,'Hi Ethan, \r\n\r\nHope you\'re good. I don\'t know if you recall we spoke at length at one point about some theatre stuff I was involved with. \r\n\r\nTo bring you up to date, I last year wrote a horror comedy movie that\'s currently with the producer of the \'Hellraiser\' movies. While he\'s off raising the money, I\'m preparing to shoot a short low budget film in London in early April. \r\n \r\nIt\'s an 11 minute black comedy suspense thriller horror called \'The Hands of a Collector\' and it\'s in the style of \'Tales From The Crypt\' and \'The Twilight Zone\'. We have a fantastic cast lined up and we\'re looking for a composer to score the film. I remembered you and thought I\'d touch base to offer you the chance to say yes or no! \r\n \r\nWe have about £100 to spend on a composer. I realise this is not a vast amount but we\'re managing - through sheer passion and dedication and people recognising we mean business - to get a great deal of high production value at a cost we can realistically afford and I really want the music to be an integral part of the story. \r\n\r\nThe film will be premiered at the Frightfest festival this summer (our turnaround time to shoot and complete post is pretty tight, but I\'m confident we can do it) and at a number of film festivals domestically and internationally, so it will be quite highly visible. \r\n\r\nIt\'s important to me that I work with people who are not only great at what they do and have a real sense of the film I\'m making, but also people that see what a great opportunity the film is to truly put something of themselves in it.\r\n \r\nIt\'s a small, intimate story told in a big way and I want to work with a composer that can help create this world musically. I want a dark, lonely, romantic score with moments to heighten the mystery and suspense, but the final act is all out terror, ending with a kind of quiet eeriness. I have a vague idea of where I\'d like the cues but I think that\'s best decided in collaboration. I guesstimate we\'d be looking at about six or seven minutes of music. \r\n\r\nWith the exception of some sample scores from other movies to give you an idea of the tone I\'m going for, you would have freedom to be as bold and creative as you wish. \r\n \r\nIf this interests you nothing would please me more than to have you work with us on this. Thanks for listening and I look forward to hearing from you!\r\n \r\nWith best wishes, \r\n \r\nAsh '),(84,'We have decided to open our POWERFUL and PRIVATE website traffic system to the public for a limited time! You can sign up for our UP SCALE network with a free trial as we get started with the public\'s orders. Imagine how your bank account will look when your website gets the traffic it deserves. Visit us today: http://jtayl.org/qfm9\r\nLisa http://pay4by.cc/rnwh'),(132,'thanks for share!\r\nThis is the perfect choice for anyone looking for a vintage style 2013 http://www.9yfood.com/en/online.asp?/girl-on-toyota-supra-this-is-the-perfect-choice-for-anyone-looking-for-a-vintage-style-2013.html'),(171,'Hello, \r\n\r\nI saw your work with Spirit Young Performers company with Own This World and it was amazing I was wondering if you had the sheet music that you could send me because I can\'t stop listening to it and I really want to learn it on the piano. It is an amazing piece but if you had sheet music or a karaoke version I would love it even more :) thank you so much,\r\n\r\nAli Nauen'),(174,'I have posted my Festival contact with Jesús on the blog, and though that you might wish to know, as you are pictured / mentioned :\r\n\r\nhttp://unofficialcambridgefilmfestival.blogspot.co.uk/2014/10/camera-catalonia-at-cambridge-film.html\r\n\r\n\r\nCiao\r\n\r\n\r\n\r\nAnthony'),(180,'I\'ve just had a student come to me wanting to sing \"Own This World\" from \"Ada Lovelace\" after seeing it on YouTube. Is there some way one could obtain the sheet music? It\'s such a beautiful song! \r\n\r\nThanks for any help you can provide'),(189,'Hi,\r\n\r\n\r\n\r\n\r\nThanks for your quick response.\r\n\r\nYes, it would be for my daughter to perform to, it\'s such a lovely song and many of the lyrics are so meaningful to her life!\r\n\r\n\r\n\r\n\r\nKind Regards\r\n\r\n\r\n\r\n\r\nPhil'),(195,'Dear Ethanlewismaltby.com,\r\n\r\nI would like to take a few minutes from your schedule and ask for your attention towards Organic search engine traffic for your website : www.Ethanlewismaltby.com.\r\n\r\nAs a business Owner you might be interested to gain profit by placing your website on the first page of top search engines. Your website needs immediate improvement for some major issues with your website.\r\n\r\n1. Low online presence for many competitive keyword phrases.\r\n\r\n2. Social Media Profiles need a regular improvement.\r\n\r\n3. 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I am also available for an online meeting to present you this Website Audit Report.\r\n\r\n-----------------------------------------------------------------\r\nBest Regards,\r\nJoseph Fernandez\r\nMarketing Consultant\r\n\r\nPSI: I am not spamming. I have studied your website and believe I can help with your business promotion. If you still want us to not contact you, you can ignore this email or ask to remove and I will not contact again.\r\n\r\nPS II: We do also provide website development and redesigning using future technologies such as HTML5 and Responsive Design to make your site more accessible in mobile phones, tablets etc.\r\n'),(198,'Dear Ethan,\r\n\r\nI was just wondering if the noise ensemble is still touring and if you are ever looking for new members? If so I would be very interested in auditioning. I am a drummer / percussionist, playing all sorts of world percussion as well as drum set. My website is www.mattfisherdrums.com if you would like more details and information on projects that I have been involved with. Hope to hear from you soon.\r\n\r\nMatt'),(204,'Hello Mr. Maltby,\r\nMy name is Macleish Day and I am a producer and actor of Film. I wanted to inquire if you would do me and the fellow producers of The Highwayman the honors of being our film Composer when we finish shooting principal photography. Our producer is keen to finishing this film that has taken almost a decade to make. Please let us know what your rates our so we can budget accordingly. \r\nThank you. '),(207,'Dear Mr Maltby, We are wondering if it is possible purchase the sheet music for \"Helpless\" (or indeed, for all the songs in \"Battle of the Boat\"). Helpless is a beautiful song and my 15 year old daughter who does a lot of musical theatre singing is keen to learn and perform it at school events etc.\r\nMany thanks,\r\nSimone Grinyer'),(210,'Dear Mr Maltby \r\n\r\nMy daughter and I love your and Ms Donnelly\'s musical Battle of Boat. Its simply beautiful. Is there a place where we can purchase the sheet music for the Musical? Or just the song Helpless? We thank you for your assistance. \r\n\r\nRegards Michele Wallis '); /*!40000 ALTER TABLE `wp_rg_lead_detail_long` ENABLE KEYS */; UNLOCK TABLES; -- -- Table structure for table `wp_rg_lead_notes` -- DROP TABLE IF EXISTS `wp_rg_lead_notes`; /*!40101 SET @saved_cs_client = @@character_set_client */; /*!40101 SET character_set_client = utf8 */; CREATE TABLE `wp_rg_lead_notes` ( `id` int(10) unsigned NOT NULL AUTO_INCREMENT, `lead_id` int(10) unsigned NOT NULL, `user_name` varchar(250) DEFAULT NULL, `user_id` bigint(20) DEFAULT NULL, `date_created` datetime NOT NULL, `value` longtext DEFAULT NULL, PRIMARY KEY (`id`), KEY `lead_id` (`lead_id`), KEY `lead_user_key` (`lead_id`,`user_id`) ) ENGINE=MyISAM DEFAULT CHARSET=utf8; /*!40101 SET character_set_client = @saved_cs_client */; -- -- Dumping data for table `wp_rg_lead_notes` -- LOCK TABLES `wp_rg_lead_notes` WRITE; /*!40000 ALTER TABLE `wp_rg_lead_notes` DISABLE KEYS */; /*!40000 ALTER TABLE `wp_rg_lead_notes` ENABLE KEYS */; UNLOCK TABLES; 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