Hati Merdeka-Merah Putih III [2011-DVDRip]

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Kelly Miller 2012 Pushes Nerve Factor Under New, Bigger Big Top: Pirates, Knife Jugglers, Tigers & Slide for Lifers Pace Lineup

John Ringling North II takes in a performance of the show during the 2011 season. How deep might he go into creative producing?

Knife juggling, gaucho dancing, wild animals in control, pirates on the lose, the "slide for life" and unprotected single trap daring-do promise, on paper, to up the nerve factor at next year's Kelly Miller Circus. Show is now in its Hugo barns, already prepping for the 2012 tour, expected to hit the grass -- or mud -- come February. This I infer from advance information sent my way courtesy of show's general manager Jim Royal. Thank you, Jim.

John Ringling North II's pet circus will sport a brand new big top next season, with "a completely different look," says Royal -- this one designed out of San Francisco by North's designing daughter Katherine, who operates Northbrook Design. As viewed in a photo, tent looks more spacious and roomy.

If the lineup looks a little slim and somewhat redundant on paper, yet the impact might be in the attack, and Kelly Miller requires of its returning performers new routines and novel twists. For example, long-time K-M juggler Raul Oliveras will be spinning objects through a new black light segment, as well as reprising his secondary stint, wind-up dog "Pinky," a perennial favorite with sponsors, according to Royal.

Armando Loyal signed to sustain his fine hold over three elephants. Five tigers from the former Casey McCoy act will be working a revamped repertoire to be hosted by Ryan Easley, marking his second season in the big cage. Show's central production splash in which a number of turns are cast is a pirate themed romp slated to feature knife juggling from Julia and Deya Rosales (new to the show), a slide for life, ensemble dancing and the five North Starlets. Carolyn Rice has a new dog act ready to go; the dogs will enter the tent on the SS "Salty Sea Dog." Sara Greene and Delena Fusco are crafting a cradle turn.

New faces also include smooth single trap diva Rebecca Ostroff, who appeared in the film Water for Elephants, the credit a natural talking point for the show's PR attack. Also new to the North ring will be the Fusco family's seven-person gaucho act. Clowns Steve Copeland and Ryan Combs are developing all-new entrees and walkarounds.

Production flourishes may add additional excitement. Norbert Fusco is adding dance steps to the aerial Starlets, while Carolyn Rice will choreograph for husband Mike's camel carousel, to which zebras have been added.

These various flourishes suggest a creative producer at work.

Although North's old buddie and musician from Ringling days, Captain "Lucky Eddie" Straeffer and his wife Vickie will be out next season on personal matters, the pattern of scoring which they established, tape recordings augmented by drums and percussion, will be followed, says Royal.

If there is detectable weakness here, it would seem to be a lack of acrobatic arts -- those power drives that set the human body into spinning whirling motion.

The impact of any performance, of course, rides as much on how everything is put together, fancied up in lights and costumes, packaged, scored, and paced -- as it does on a raw assemblage of performers. Exactly how John Ringling North II pulls his goodies out of the hat may well spell the difference between also-ran and take-note.

Optimistically, I consider North's personal imprint a promising work in progress.

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Gotham Going Gaga Over Big Apple Circus "Dream Big" ... Daily News ... NY Post ... TheatreMania Issue Affirming Kudos

Update, 10/25, 7:03 AM PST: More boffo reviews, some bordering on raves, are pouring off Gotham presses, from NY Daily News and Theatre Mania, the latter declaring it "a treasure trove of eye candy and entertainment for people of any age." Show looks to be richly stocked with top talent, captivating costumes, and inventive set pieces.

Photo by Bertrand Guay/Big Apple Circus

Here are some highlights from a socko 3- star review by Elisabeth Vincentelli in The New York Post:

“Dream Big may be its most eye-popping production yet, thanks to director/choreographer Renaud Doucet and set/costume designer André Barbe, both of whom have extensive experience in opera.

The concept this time around is that an “imagination machine” allows people to dream up the show’s act. Mainly this is an excuse to have everybody cavort in colorful, downright nutty outfits. Many look straight out of a Tim Burton movie: Russian juggler Dmitry Chernov has an Edward Scissorhands vibe, and China’s Shandong Acrobats look like extras from 'Charlie and the Chocolate Factory.'"

Even the animal routines have a twist. Horses prancing around are fairly common, but when was the last time you saw an African porcupine, a Vietnamese potbellied pig and a capybara do tricks? The last gets the show’s biggest laugh, which involves the Taio Cruz hit “Dynamite.”

End of excerpt.

I predict those quirky animals will draw lively press and word of mouth. The tent should fill up nicely.

Read more: http://www.nypost.com/p/entertainment/theater/tent_up_creativity_jest_right_for_quxegyt5NOYKwxMN3cqQaL#ixzz1blCi6XeW

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The Best American Circuses, 2011: Showbiz David & Others Rank them -- Only One Show Makes Everybody's List

From Showbiz David, Critical Feedback Division

No two people will ever agree on which show is “best,” and where to place the rest in order of quality. At the bottom of this post, I am pleased to include, in the order in which they were received, the top three picks of other contributors, which makes this so much more interesting.

My ranking criteria

For my money, what separates the best from the least? Surely, the strength of the acts, but that alone is hardly a guarantee for a winning program. Making the biggest difference are production values, from lighting and costume design to music, announcing, pacing and contrasting dynamics.

Some trends, good and ill

Every show offers reasons to go: All of the circuses listed here featured at least one or two — or more — notable acts, and most offered a wide variety of action.

Animal Attitudes: With the one exception of Circus Vargas, all of shows continue to offer the public entertaining animal acts. And the majority of the shows — five — still usually include wild animals in the mix. All of which evidences the public’s continuing preference for the full “traditional” program and the success of circus owners in fostering its confidence.

Ringmasteritis: A disease suffered by hack virtuosos of verbosity (aka: “ringmasters”) who can’t shut up and/or grovel to the crowd for coached applause and cheering. “How are you enjoying the show so far, everybody?!!” Four of the companies — Ringling’s Barnum 200, Cole Bros. Circus of Stars, Circus Vargas, and Carson & Barnes -- all carry verbal blowhards worthy of gag-order restraints.

The carnival in the tent: The crass integration of concession pitches throughout the program and hyper-active intermission rides and photo ops does nothing to enhance a show's artistic impression. Four of the shows listed here continue to pursue this course at their own risk.

Effective tape-recorded musical scores: Two of the companies — Cole Bros.Circus of Stars and Circus Vargas — prove that well constructed musical scores tape recorded for playback can actually be superior to small straining bands. “Live” is no good if your musicians are too few in number or can’t cut it.

The shows considered

I saw five of these circuses in 2011. I am factoring in two others: I caught Kelly Miller in 2010 (quite similar to the 2011 edition), and UniverSoul in 2005. I believe my rankings reflect their general quality. I am including only medium to large sized shows that present fixed programs during a regular touring season lasting many months. Thus, for example, shows like Circus Osario or Circus Bella would not make my list.

The Showbiz David 2011 Picks

1. Big Apple Circus (Dance On!) A nearly perfect performance. Superlative production values, not overly wrought, excellent acts of noteworthy innovation. Excellent music and clowning, a joyful reach. New Artistic Director Guillaume Dufresnoy is good news — the perfect figure to extend the Binder-Christensen legacy.

What to wish for: More substance in the air. If there is to be a ringmaster, let him/her speak a few words.

2. Ringling Bros and Barnum & Bailey For all that’s been said, the Felds continue to scout some of the best acts in the world, and they experiment with compelling new modes of presentation, even if they can’t resist overplaying their bag of flashy visual tricks. The acts may vary from first rate to forgettable, the music from brilliant to pedestrian, but their costumes and stage pictures are atmospherically outstanding, and they know how to build to a rousing climax.

What to wish for: A more consistently high grade performance, less heavy-handed showmanship. At Coney Island over two summers in a single ring, where they placed talent over fireworks, they produced their best two editions in years.

3. Kelly Miller Circus A promising work in progress from John Ringling North II, who has proved his Ringling credentials revealing a conservative deference to traditional circus while modestly testing the creative waters.

What to wish for: A more frequent turnover in performing personnel. This may be the most critical issue facing North, who at some point will have to let go of favored performers, that is, if he does not wish to alienate his positive relationship with the pubic. He needs a little stronger lineup. And, if he wishes to go the distance as a first-rate showman, he will have to shake off those old show-disrupting Hugo merchandising habits — a direct smear on the House of Ringling. This show has a nice warm feel and a friendly flow, and it covers the solid basics with good music and announcing.. In fact, the two circuses I most looking forward to seeing again are this and Big Apple.

4. UniverSoul Circus A difficult call, because I’ve not seen the show since 2005, but given website information on the current edition, it likely deserves this or a higher slot in my rankings. The funky UniverSoul Circus offers a strong muscular mix, if awkwardly merged, of traditional circus acts (some imported), Afro-centric hip hop routines, wild animals, a quirky character clown named Onion Head, and the oddly incongruous end-of-the-show morality skits.

What to wish for: a smoother integrated program minus the preachy melodramas that can drive customers to an early exit. Truly, these veiled sex, drugs and misogynistic enactments give breathtaking new meaning to the term “Sunday school show.”

5. Circus Vargas A show of moderately engaging action that varies from first rate to acceptably standard. It could and should be so much better, if only the owners would step back, let go and hand over the direction to a strong outside party. Along with evidence of smart staging in precious few spots, there is a lingering air of audience pandering desperation throughout the overly-hyped performance, including the exit path that patrons must take past performers waiting out in the connection to be flattered, smiled at, asked for autographs.

What to wish for: Better comedy, a better presentation. And, irony of ironies, a flying act that actually flies.

6. Cole Bros. Circus of Stars A far cry from the old Beatty-Cole three-ring show (presented in three rings) when the music was live, the clowning strong, the mid-level acts of even merit professionally paced. Cole’s taped musical score, as noted above, is generally excellent. Its lineup is wildly uneven, from charming animal and aerial ballet effects to pedestrian thrill turns rehashed year after year. The rectangular arena-shaped setting gives the performers a semi- stranded look. The excessive announcements grow quickly grating. And the clumsy staging (including a gauche fork lift truck for major prop changes) casts a dreary impression.

What to wish for: This show needs a total rethinking of the performance format. Messrs Pugh and Bale need to focus less on tent-show logistics, more on the performance itself.

7. Carson & Barnes It’s obvious the Byrds, to their credit, are genuinely trying to upgrade the show, what with a few world class acts and a rather expansive spread of action, some of it unfortunately bordering on rank amateurism. Most of their best moves forward are sabotaged by stale production elements they seem unable to retire (a bombastic ringmaster entirely out of place, for example), and the usual crass inclusion of concession pitches throughout the show.

What to wish for: Gutting the intermission, hiring a clown who presents new routines each year, and hiring a new, less talky, less overbearing ringmaster, would work wonders for the lineup. When they ran the show straight through without an intermission, Carson & Barnes now and then produced some of America's most exciting performances. They can easily do it again, but they must make drastic structural changes.

How Others Judge Them

And now, to the rankings of my guest-volunteer judges. After having set my own rankings in stone, I invited others to send in their top 3 favorites. The reason I confined the number to 3 was to make the task as easy as possible. A few of shows listed here do not appear on my rankings; since I have not seen any of them, I was in no position to consider including them on my o1n list.

From Harry Kingston

Says Harry, " I am always in favor of tent shows right or wrong"

1. Cole Bros. Circus of Stars

2. Kelly Miller Circus

3. Carson and Barnes Circus.

From Don Covington

1. Big Apple Circus

2. Kelly Miller Circus

3. Ringling Bros. and Barnum & Bailey

From Ron Finch, Newark Valley, NY

1. Kelly Miller Circus

2. Billy Martin's Cole All Star Circus

3. Cole Bros. Circus of Stars

From Becky Ostroff

1. Cirque Polynesian

2. Kelly Miller Circus

3. James Cristy Cole Circus

From Charles Hanson

1. Carson & Barnes Circus

2. Kelly Miller Circus

3. Cole Bros. Circus of Stars

Kelly Miller's Rare Popularity

For the fun of it, pooling all the scores -- mine and my five guest judges -- I assigned three points to any show getting a first place ranking, two points for a second, one point for a third. Here is what we get:

1. Kelly Miller Circus (12 points)

2. Big Apple Circus (6 points)

3. Cole Bros Circus of Stars (5 points)

The only show to make everybody's top three list, what is it about Kelly Miller? I believe it has something to do with the intangibles of spirit. Here is what Becky Ostroff said about Kelly Miller in her e-mail to me:

"I felt this gem of a delight flowed and kept my attention and was over before I knew it. What was not to love! All the elements of a classic show, animals, comedy, acrobatic, aerial, clowning and music."

Thanks to all of you, my guest judges!

3-Minute Midway: Once a Crack Kid Ticket Seller for RBBB Under Canvas, Now He's Walking for Walker Bros. He's Bill Taggart, He Is!

He troupes on, he does, this invincible powerhouse of big top get-it-done. A while back he was driving the big trucks for Cole Circus of Stars. Now he's in-harness (I just love that old phrase) with Walker Bros. There he is, feeling his octogenarian oats, with Timmy Loyal and Loyal's daughter. You look tip top, Bill!

The ageless trouper is 80-years-young (gosh, thanks for making me feel soooo comparatively young), trumping high and checking in. College educated Bill worked in Ringling's yellow ticket wagon through the ill-fated 1956 season. A part of his tell-all memoirs about shady ticket selling on the Big Show landed in Bandwagon, a few years back. Our eyes collectively were opened -- OK, well mine were.

I keep waiting for Bill to take us through the 1955-56 seasons. He'll be getting those notes together, promises he, this winter.

Hurry up, Bill! Talk to us some more from the deep dark "inside." And please, don't forget to recount your day in Pt. Richmond, CA, 1955, when this here kid (me) was on the lot, utterly spellbound, hopelessly sinking into this madly glorious spangle-clad addiction, no meds required. Come to think of it, is that why I take no meds?

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In His Own Words: Cirque du Solei's Boss Reveals the Simplicity of a Producing Genius

Perched on the lofty edge of one of his many world castles, this one atop the Hollywood hills, billionaire big top tycoon Guy Laliberte talked to the the Los Angeles Times' Reed Johnson about his latest offering, Iris, designed to last 10 years at the Kodak Theatre on Hollywood Boulevard. Whether audience interest will last ten years in a town famous for turning over product as fast as it can be "wrapped" and sent onto the road, is another matter.

Explained Laliberte on his producing philosophy, "We encourage mistakes because we believe that means they try things. The one thing we're very brutal with is that they [don't] repeat this mistake the second time."

Others on the creative staff of Iris, like prolific Hollywood soundtrack composer and rocker Danny Elfman, noted the generous artistic freedom they have enjoyed in their work "Guy doesn't come in and micro-manage like some producers can, " said Elfman. "They know that their best work comes out of allowing artists to be artists."

Elfman sees a parallel between Laliberte and movie mogul Louis B. Mayer, who would come around to view a rough cut, order cuts and revisions, leave and let the staff continue."

Cirque does "insist," according to the report, that each of its productions contain a "specified number of circus acts" and that it does not adhere to closely to a story line. Which may explain why many of you leave the tent more confused than when you came in.

Laliberte, something of a chain smoker it seems, likens his creative style to that of Pixar, believing they are similar in fostering a healthy "synergy" between artistic and business interests.

And the big boss encourages his staff to spend their off days in regenerative pursuits, such as sharing art works and taking part in charitable activities.

"I know I'm very privileged," said Laliberte to Reed while seated in his bare feet on his outdoor patio somewhere up there in tinsel town heights, "but the concept of people working all their life, seven days a week, piling up money, and dying being rich, I just don't get it."

Somehow, the image of all the smoke he is blowing into the air, not to mention its impact on his lungs, does not jive with his expressed advocacy for a healthy life style away from the bright lights.

The staff should encourage their boss, likewise, to tend to his health. Without him, this amazingly successful enterprise would likely suffer a sure slow death. From the incredible combination of talents that dance somewhere deep in Guy Laiberte's soul, come the Cirque shows, one after another.

Yes, some are floporamas. Others continue to astonish. Just like the top man said,, in order to succeed you've got to be willing and able to fall on your face or, might I add, slip, Banana Shepeel style.

(Note to the Cirque King: Frankly, Guy, that photo of you up there that appeared in the story, credited to your staff, is wretchedly awful. The lighting. Your stilted militaristic stance. Everything! And yet, in my pathetic desperation to illustrate your mug in my forthcoming book, Inside the Changing Circus, I actually contacted the Los Angeles Times about reprinting it. They wanted over $200! No thanks, Hollywood. Your people in Montreal, Guy, did not return my e-mails. No surprise. But you have an open invitation to meet me at my one-bedroom rental in Oakland. I have a balcony. On it, yes, you can smoke if you must.)

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3-Minute Midway: Poema-Perfect Landings Seal the Deal

There's a great You Tube of the Poema act on Kelly-Miller Circus, the act itself finely staged and integrated into what I believe is their western production number. Little dude Adrian Jr., a great showman who has a life of high laughter and applause ahead of him, scores well, all the way through. Loved one of his interactive bits with ringmaster John. Very funny. Direction this year helps deepen the comic character in Adrian's Hannefordian soul. My only quibble with this well developed act -- it needs just a little something more at the very end, a little more punch or zing.

The family's stately risely landings (feet to feet) are what seal the deal. During the copy-editing phases recently for my forthcoming book, Inside the Changing Circus: A Critic's Guide to the Show, I added a paragraph on what I call "precision landings" to a chapter where I discuss the elements of a first rate circus act. Seeing the Poemas makes me glad I did.

Strong precision landings on the feet, when sure and masterfully erect -- do seal the deal. Gusto. Control. Vertically victorious posture ... Yes! They put the frosting on top of the frosting.

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Film 11-11-11 [2011-NA]

MOVIE INFOhttp://www.imdb.com/title/tt1712159/ Genre: Horror | ThrillerDate Release: 11-11-2011Director: Darren Lynn BousmanWriter: Darren Lynn BousmanStars: Timothy Gibbs, Michael Landes and Denis RafterDownload Gratis Film 11-11-11
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Sinopsis Film 11-11-11
Angka 11:11 telah muncul secara misterius dan dilaporkan telah disaksikan oleh manusia di seluruh dunia jutaan kali. Angka

Johnny English Reborn [TS-2011]

MOVIE INFOhttp://www.imdb.com/title/tt1634122/Ratings: 7.1/10Release Date: 28 October 2011 (USA)Genre : Adventure | Comedy | ThrillerStarcast : Rowan Atkinson, Rosamund Pike and Dominic WestSource : TSDownload Gratis Film Johnny english Reborn
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Cirque du Soleil's "Iris" Wows L.A. Critics ... Are They for Real?

Los Angeles Times photo. Photographer unidentified.

It must be a glorious day for Cirque du Soleil down in tinsel town. And deja vu all over again. This is the place where the Montreal Monster conquered the world stage back in 1987 when it gambled all its kitty on a date in Japantown, wowed the entire city and soon after the world, and the rest is phenomenal history.

Twenty four years ago. Then, Cirque came bearing a simple though brilliantly inventive show under a little tent.

Now, 24 seasons later, it has returned full circle, back to the city of it's world birth, bearing a dazzling display of how it has reached into other venues and, finally, onto the stage.

I have felt all along that, in order for this gig to be big and last, it would have to be Cirque Grade A+ Nothing less. And maybe it is. But, even then ...

I am not quite ready to fully believe all of the raves I've read, for three reasons:

1. L.A. shares a special history with Cirque du Soleil, as noted above.

2. L.A. desperately needs a permanent anchor amusement to occupy and make more vital the Kodak Theatre, where previous tenants have failed.

3. The L.A. critics can come off on occasion as cheerleaders, either fooled by what they are watching or lacking in what I'd call New York critical independence. Time and time again, I've observed them to embrace a show, almost unanimously, that just was not that good. Example: The curiously rewritten Flower Drum Song, which premiered in L.A. prior to its "Broadway revival." L.A. reviewers issued virtual raves. Once FDS hit the New York boards, Gotham critics blasted it in a thousand different ways. It flopped within months.

Which is not to say that the critics are wrong on Iris. But I do wonder if some of their enthusiasm is driven by a burning desire, city wide, for the blockbuster draw that can bring much-needed live-entertainment luster to Hollywood and Hyland, where tourists flock to have their photos taken, gaze down upon the stars, buy a few souvenirs and quickly move on. Will Iris convince them to spend another night and a few hundred more dollars?

As one local said to a reporter, "They have no competition!"

For me, this will be a fascinating story to watch. By one account, if they can fill up 65% of the Kodak Theatre seats on average, they can turn some kind of a profit. Show is slated for a 10-year run. No where else in tinseltown do shows last even for a year.

For the moment, there is rare euphoria in the air. This is the town that put Cirque du Soleil on the map, make no mistake, and this is the town that may put them higher on the map. If Iris is as great as the reviews are saying, I can imagine watching it, maybe when I am in a wheel chair, when the ticket prices come back down to earth.

But, I doubt that. I can see discounts in a year or two. Blockbusters rise and fall here as fast as flats on a back lot.

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Sunday Morning with Showbiz David: Challenged More Than Ever by "The Ever Changing, Never Changing Circus"

My soul feels stretched like endless mist across time, by thousands of years as I consider how "circus" has meant so many things to so many different people across time's evolving sweep -- from the blood and thunder of Roman chariot races to the soaring poetry of today's virtual ballets in the sky.

My soul accepts the infinite reality that "circus" will never always be the same, not by a thousand triples or a hundred pratfalls. And so, my spirit surrenders to what is out there now in the ring, coming my way, trying to win me over -- as opposed to what is no longer there and may never return. And in the acceptance of this, I take my seat yet another time, glance upon the ring before me as a blank slate, and hope it will fill and overflow in ways both familiar and fresh, sweep me up on a ride and, at the end, send me out still half-way in the air, cheered, inspired, a believer once more.

I know it may not, but if I do not go, what might I miss?

History shows us, whether we like it or not, that the show is forever changing, as it must if it is to stay alive in the present. Who could have imagined 20-30 years ago that Ringling-Barnum would not always present a flying trapeze act?

Old timers once lamented the passing of the talking clown. They resented the disruptive enormity of "three rings" rather than just a single circle.

Like shifting sand patterns on the beach, so too the shifting patterns of clubs in motion, bodies off springboards, dogs onto horses turning clever tricks ...


I entered the tents barely in time to catch the last act of the old Roman horse races ending the show. Al G. Kelly & Miller Bros. still staged them, rough and real, as late as around 1960.

Midway through my spangled infatuations, the great Ringling ringmaster Harold Ronk, sitting out in the seats with me before a show at the Cow Palace, talked up the "four staples" he firmly believed to be circus essentials: "Elephants, flying acts, wild animals and clowns." How wise was he in his own time. Three of Harold's staples, in fact, match the only acts I can recall from my very first circus experience, around the age of five, at Polack Bros. Possibly Polack did not present wild animals, or they, too, I would have remembered.

Decades have passed. Now there is Cirque du Soleil, minus three of the staples. Now there is the "wheel of destiny," nearly a staple that was no where around when I peaked into the tent; now, dazzling ensemble variations on risley. And now, up there over the ring, young aerialists are carving out captivating new flight patterns in the big top skies.

Author Earl Chapin May called it "the ever changing, never changing circus." Lately, I have started to question his thesis. But then again, maybe in a broader sense he was right. Right if we accept the big top's surviving will and ability to reinvent its power to astound and amuse.

Next show, please! Stretch my soul in another unexpected direction, if you must. It feels more flexible, open, willing than ever. Show me whatever new magic you have that just might astound and amuse me. And renew my faith in the great spangled parade ...