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Bittersweet Symphony my own piano version … ROFLMAOWTIME!!!!! CANT STOP LAUHGING!!!!! it was SO hilarius woth you …

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"Bitter Sweet Symphony" Single by The Verve; from the album Urban Hymns; Released … On 25 December 2005, a documentary entitled Live 8: A Bitter Sweet Symphony was aired …

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Rabu, Maret 17th, 2010 Music Tidak ada Komentar

Realizing The Value Of Medicare Supplements To Your Own Personal Future

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Senin, Maret 15th, 2010 Health Tidak ada Komentar

Evaluate of My Article Network

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Minggu, Maret 14th, 2010 Internet Marketing Tidak ada Komentar

Why Is A Natural Colon Detox Immensely Important?

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Kamis, Maret 11th, 2010 Health Tidak ada Komentar

How Competent is Wrecking Balm-tm?

When you originally see or hear the word WreckingBalm(tm), you might believe it must be only one more in home tattoo removal cream. And yet a little study reveals it's a distinctive method which includes Food and Drug Administration permitted technology in the form of a hand-held apparatus that will safely enhance the two techniques of tattoo fading together with removal. Here is the information I learned while visiting this WreckingBalm(tm) Reviews webpage.

First of all, there are diverse methods to do away with tattoo ink. Tattoo ink elimination could take place by simply fading out the tattoo from the top layer of your epidermis. And even a differing procedure which will remove tattoo ink works in the epidermis, by splitting apart the large beads of ink planted inside your skin into little ink fragments which are removed from the skin organically. Wrecking Balm-tm tattoo removal works so you eliminate tattoo pigment employing both epidermis fading in addition to inside the actual skin techniques. Plus it succeeds to take out all tattoo ink hues.

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Kamis, Maret 11th, 2010 Health Tidak ada Komentar

Human Growth Hormone Usage Benefits Of Human Growth Hormone

Growth hormone (GH) is really a protein-based poly-peptide hormone. It stimulates growth and cell reproduction and regeneration in humans and other animals. It's a 191-protein, single-chain polypeptide hormone that's synthesized, stored, and secreted on the somatotroph cells inside lateral wings from the anterior anterior pituitary gland. Somatotropin describes the growth hormone produced natively and naturally in animals, whereas the phrase somatropin identifies growth hormone made by recombinant DNA technology, in fact it is abbreviated “rhGH” in humans… http://www.buyhumangrowthhormoneonline.com

Human growth hormone (HGH) supplements were developed responding within the needs of children and adults experiencing an abnormal insufficient this hormone in their body. As a result of positive results, many athletes found HGH in order to increase their performance in athletic competitions.

Growth hormone is employed clinically to cope with children's growth disorders and adult growth hormone deficiency. Nowadays, replacement therapies with human growth hormones (hGH) have become popular within the battle against aging and weight management. Reported effects on GH deficient patients (but seriously isn't on healthy people) include decreased excess fat, increased muscle tissue, increased bone density, increased energy, improved skin tone and texture, increased sexual function and improved immune system function. Currently hGH remains considered an incredibly complex hormone and lots of of its functions are nevertheless unknown.

Scientists also learned that older people will manage to benefit from HGH therapy by scaling down the procedure of aging. HGH supplements are already knowledgeable about improve low energy, slow muscle recovery and slow healing. HGH therapy may be shown safe if your proper dosage is prescribed, usually by way of doctor. Your healthcare professional will order a ready-made blood profile and study your history.

In its role just as one anabolic agent, HGH could possibly be utilised by competitors in sports since 1970s, and remember that it's banned with the IOC and NCAA. Traditional urine analysis wouldn't wish to detect doping with hGH, to make sure the ban was unenforceable prior to the early 2000s, when blood tests which could distinguish between natural and artificial hGH were beginning to be developed. Blood tests conducted by WADA along at the 2004 Olympic Games in Athens, Greece primarily targeted hGH.

According to the gains with the tests plus your history, your medical professional will either prescribe or otherwise prescribe HGH supplements energy. Using HGH supplements have their own group of unwanted side effects. Their severity however, relies on the supplement dosage taken. Large doses may lead to above normal levels of HGH from the body and cause negative side effects. So for anyone who is organization taking HGH supplements and are not seeking to see the negative aspects, you is going to take lower doses. So long as need to mega dose HGH.

The key isoform in the hgh is often a protein of 191 amino acids in addition to a molecular weight of 22,124 daltons. The structure includes four helices necessary for functional interaction when exercising on the GH receptor. Appears like that, in structure, GH is evolutionarily homologous to prolactin and chorionic somatomammotropin. Despite marked structural similarities between growth hormone from different species, only human and primate growth hormones have significant effects in humans.

It will always be advised however to chat together with your doctor or doctor before needs to take this supplement. He / she can recommend the top dosage to the age. Some individuals have experienced allergic reactions using a ingredients of HGH supplements. They've reported experiencing tightness inside throat or chest, chest pain, itchy skin and skin rashes. Do you need many of these symptoms after taking HGH supplements, you need to stop and immediately contact health provider or doctor.

Children and adults taking hgh replacement therapy to raise their HGH on track levels certainly won't or rarely experience negative negative effects. Older people and athletes who've normal HGH levels but want to raise it however, are in risk for your negative unwanted effects.

Negative side effects include diabetes, edema (water retention) inside extremities, arthralgia or joint pain, hypertension, cts, and enlargement from your mammary glands (gynecomastia). Using some extreme cases, Hodgkin's Disease and colon cancer are observed.

Also inside the negative unwanted side effects are abnormal growth of facial bones (which occasionally can change entirely the feel of the facial skin), kidney and heart damage, usually enlargement on the organ. Some negative negative effects for instance edema or cts might be relieved by discontinuing HGH supplements although some unwanted effects might be serious and be even irreversible such as kidney and heart damage. Since these may be life-threatening, you need to weight the advantages against the danger of uncomfortable side effects before beginning take HGH supplements.

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Rabu, Maret 10th, 2010 Health Tidak ada Komentar

Natural Colon Cleanse, Colon Cleansers, Cleansing Tips and Benefits

maximum strength cleanse system for men review by MrColonCleanse

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The herbs used to naturally colon cleanse have natural disinfectant properties that eliminate … Natural colon cleansing supplements can help prevent bloating since they cleanse the …

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Selasa, Maret 9th, 2010 Health Tidak ada Komentar

Carnival Cruise Deals: Great Deals On Great Journeys

Carnival Cruise deals provide holiday planners lots of activities, and are famous for the wide variety they feature – and also being a lot of enjoyment for All the family. A cruise holiday is a well-liked decision supplying the perfect alternate to driving a car and flying. Not everyone is charmed by the expectation of a long tedious flight or choosing a fly-drive holiday, especially with kids. Generally, the actual traveling involved is often much more traumatic as compared to staying at home. Naturally, Carnival Cruise bargains are certainly not reserved for families, they are well suited for single people and couples … actually, they'll appeal to practically any group size.

The exact time of year will certainly make a big difference to the buying price of all cruise deals on the market – irrespective of cruise line or extras. Touring early in the season or towards the close of the season will be cheaper in just about all instances.

These days a Carnival Cruise is usually one of the most popular cruising getaways in the USA. Many of the Carnival Cruise deals available stop by many ports along the way, adding towards the pleasure. A variety of destinations will have a different price — staying open minded regarding destination and checking out any special deals will ensure that your travel cash extends to the max. It may be that you could obtain an upgrade or visit a unique location that normally is outside of your budget. This is especially true in case you are able to take a last moment Carnival Cruise bargains which can be frequently available.

A majority of the voyage deals being offered incorporate dinners as well as a variety of extras – but not every one. Examine specifically what is bundled. It may be that a certain discount offer being offered is not going to really save as much as you imagined. It depends on exactly what you are searching for out of your getaway. You may possibly finish up paying a great deal more to get food along with additional recreation onboard than you might have when compared with booking a more inclusive package in the beginning.

Hence when it comes to various Carnival Cruise deals which can be purchased, it is important to think about this point: a few extra dollars in the beginning could in fact save a Large amount of additional expense during your vacation. Do your homework and also examine the small print.

By taking these things into account in picking from the Carnival Cruise deals available on the market will likely aim you to the right vacation. And a cruise is actually already a step in the correct direction.

Click Luxury Cruises & Eastern Caribbean Cruises & Carnival Cruise Dealsfor more info. Copyright 2010 Ron X King. Source: Go Articles.

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Senin, Maret 8th, 2010 travel Tidak ada Komentar

Online Data Entry Typing Jobs Real Data Entry Jobs Online

Judy emailed Women and Cruising with the following question as she and her husband contemplated going cruising. We forwarded her email to several women who might have thoughts to share with Judy.  Beth Leonard, Sherry McCampbell, and Kathleen Watt responded to Judy and we printed their responses here in our blog. We have since received three more responses to Judy’s question from readers of Women and Cruising. Read on …..

Question:

My husband and I are thinking of living aboard a sailboat in four to five years from now. His daughter is grown and just purchased her first home while my daughter is a freshmen in high school.

I suppose it is harder for me to take to the idea of living aboard because I have a really great paying job and I feel I need to help my daughter with college. I am only 39 so leaving my career is harder than I thought it would be. Any advice for me? My husband is 47 and more than ready to leave tomorrow. He is self employed and can build or fix anything so he will not have a problem finding work along the way of our adventure.

I look forward to hearing from you if you have time or advice.

– Judy and John

Harriett writes in:

Hi Judy and John,

It’s probably too early to decide – 5 years is a long time and you may feel differently by then. Or your daughter may get a scholarship or change her path.

If you can fit sailing into your current life, that would be a good start to finding out whether you want to even try it.

Also, there’s nothing wrong with a “try it and we’ll see how it goes” attitude.

All these thoughts come from my own experience, since my husband and I left to go cruising at 45 with the idea that we’d do it for 2 years and see if we liked it. Twenty years later, we still consider ourselves cruisers, although we’re ashore right now caring for elderly parents.

At your age, we both had jobs we loved and our son was in high school. Within 5 years, he got fired by new management and I got laid off in a corporate downsizing, our son quit school and joined the marines and we sold our “weekending” boat to buy a bigger one.

So, we sold our house, which was not located where new jobs would have been, stored everything we couldn’t bear to part with in his father’s basement and moved onto our bigger boat for a couple of years of cruising. After that, we never went back.

The first year we were in shock, but we’ve learned that living with less and having time to enjoy the cruising world really suits us. So, go sailing, see if you like it and reassess it all in 5 years. Meanwhile, save for your daughter’s education, just in case you want to go.

You only get one life – and only you can decide how to spend it.

We received this from Tracy:

This the question that only you can ask yourself.

I can only comment from my viewpoint. I have been cruising for five years now and love it, I am not the greatest sailor (I get seasick and occassionally cabin fever) but I love the fact that I take my home with me, met amazing and inspiring people, see remote and stunning areas and the lifestyle is rewarding.

I think it is harder for a woman to make the decision as we are the homemakers, the mothers, etc. We look for security, both a home and family.

Before I went cruising I badgered other women cruisers, sailors and asked lots of questions, especially about cooking, space for me (it is a male dominated world), being scared, handling a boat by myself, beauty and being feminine aboard, etc. I asked everyone who would answer my questions until they were answered-no matter how silly.

We have three children, we left the youngest when she was in her last year of high school, she had a strong supportive peer group and we had family close by. We talked to the school and they supported leaving her behind rather than taking her with us. The other two were self sufficient. Yes life was difficult having no family home but they learnt a lot. We were only a phone or email away, family support was nearby. My justification was that I was only a phone call or email away and 24-48 hours by plane from anywhere in the world (of course dependent upon if I was mid passage (but how often is that).

Leaving work was difficult, I had delayed my career due to having children, I was beginning the career progression, getting into management and strategic planning and enjoying it-although the stress levels were not pleasant. I was making a difference and enjoying the fact that I was advancing in my career. My husband;s mother died when she was 45 and we said that we would travel before we got too old and ill. So we set a date and kept to it.

We need to work as we travel as we are well before retirement age and need to earn our cruising kitty. It is interesting that I have been able to pick up casual and relief work at the level that I left-I thought I would be changing beds, washing dishes or cleaning toilets. I have not left my Country yet but feel that I would pick up work if needed or travel home and find something short term to save money.

I was very scared about resigning and selling my home-I was giving up my security but the cruising lifestyle, moving about-the gypsy life suits us. As Beth Leonard states it does not suit everyone. All I can say is what you decide is best for you do not feel you need to conform sort our what suits you.

Kind regards,
Tracy

D (Dierdre) offered this thought:

I have read or heard more than once that:

“The greatest disappointments in life can be NOT doing something.” 

Having gone out and tried, means you have those memories to carry you through difficult periods we all face in life.

Good luck and fair winds,
D Wogaman
sv Southern Cross

About Ask Your Questions

When we receive a question from Women and Cruising readers, we send it out to women who we think might have relevant experience to share. These women often email the questioner back directly, but if everyone agrees we will also post the questions and answers/responses here in the blog. We may change the name or some details of the question to protect the questioner’s privacy if requested.

Beth Leonard, Sherry McCampbell and Kathleen Watt also responded to Judy’s question. We will be posting others responses as we receive them.

If you have thoughts for Judy on her big decision

Email kathy@forcruisers.com or leave a comment below. We will send your response on to Judy, and may post it here on the blog too if you agree.

Do YOU have a question for Women and Cruising?

Email kathy@forcruisers.com or leave a comment below.

Related articles:
  • Should I quit my job and go cruising? Beth Leonard responds
  • Should I quit my job and go cruising? Sherry McCampbell responds
  • Should I quit my job and go cruising? Kathleen Watt responds

ASHLAND — For a gray day in mid-February, Bill Rauch dresses about right: jeans, a blue dress shirt and black pullover sweater. So maybe it's the slight hunch to his shoulders as he sits down for a staff meeting that leads someone to say he looks chilly.

“I look chilly?” he replies, mildly puzzled.

Rauch, Oregon Shakespeare Festival artistic director, and a half-dozen others sit around a conference table amid a warren of small offices overlooking the brick courtyard between the Elizabethan Stage and the Angus Bowmer Theatre.

Joan Langley, the festival's education director, quips: “Denmark is a chilly place.”

Everyone knows that part of Rauch is somewhere else, immersed in the world of Shakespeare's famous melancholy Dane, “Hamlet.” As a play director, Rauch is spending full days rehearsing “Hamlet,” integrating technical elements (sound, lighting and scenic designs) with the acting. As artistic director of the largest resident theater company in the nation, he also faces a day's worth of administrative tasks as he prepares to open OSF's 75th anniversary season in late February, and also to announce the slate of plays, directors and designers for 2011.

Being in two places at once is more or less a job requirement.

This particular meeting offers a sense of the complexity of the festival and of Rauch's role. It's called a spaces meeting, and several of the organization's leaders are working through the maze of next year's schedule. On one hand, they have a huge roster — performances, rehearsals, board meetings, lectures — each with its own needs in terms of time, location, amenities and so on. On the other hand, they have a limited number of buildings and time slots to accommodate all those. Each solution is a problem for someone, and Rauch takes note, keeping a mental ledger of potential unhappiness.

Do they cut back on educational programming or leave the rehearsal schedules without the flexibility to account for illnesses and creative conundrums? Do they give up the idea of mounting a musical (with its greater rehearsal needs) on the open-air stage? Do they trim the resources afforded to a visiting artist?

Rauch and executive director Paul Nicholson listen intently, seated next to each other in identical poses, left hands curled against their lips.

“It's very, very clear here, guys, that something's got to give,” Rauch says. “It's just not clear what that thing is.”

A suggestion arises to look into renting a local Elks Lodge as a stopgap solution. The larger issues are left for another day. As everyone rises to leave, Rauch lets out a little yell: “Woo-hoo! Rotating rep — there's nothin' like it!”

Rauch’s job involves constant problem solving, but he thrives on the interaction that requires. A recent meeting finds him tossing ideas about with (from left) scenic designer Richard Hay, actor Anthony Heald and creative consultant Lenny Neimark.
AS ARTISTIC LEADER of a company with more than 500 employees and a budget of nearly $27 million, Rauch has a lot of responsibility, demands on his time, problems to solve, decisions to make. He's acutely aware of the legacy he's charged with. He wants to do right by the art, first and foremost, but by the people, too.

Having spent almost 20 years with a consensus-driven theater company in Los Angeles, and being inclusive by nature, he's still adjusting to his authority that comes with the job he's had since 2007. Rauch gets universally high marks for his intelligence, diligence and kindness. “The area he's still working on is making decisions,” Nicholson says.

“I sometimes worry that he doesn't have a balanced enough life. His life is the theater. But I don't want him to burn out, I want him to be around for a long time.”

Before becoming artistic director at OSF, Rauch spent most of his professional life with Cornerstone Theater, a Los Angeles troupe he co-founded that made decisions mostly by consensus. “I think he’s still figuring out that people defer to him” at OSF, says Alison Carey, his longtime friend and colleague. “Because he doesn’t defer to himself. He’s always still trying to make sure he’s doing it right.”  
HIP-HOP BEATS BUFFET the air inside the Bowmer Theatre, the larger of the festival's two indoor performance spaces. A DJ with a laptop and other gear stands in a waist-deep well set into the stage. Above him, three actors prowl, hurling rhymes in front of what look like ancient stone walls.

“This is Hamlet,” Rauch whispers. Denmark, apparently, can be funky as well as chilly.

Rauch makes the rounds, consulting with the choreographer, various technicians and stage managers, and giving hugs and encouragement to a few understudies. Then it's back to a meeting with associate artistic director Christopher Acebo about the directors and designers for 2011. When Acebo has to leave for another meeting, Rauch ducks back into his own office, where his assistant, Susan Whitmore, has brought him a sandwich and chips.

While he eats, they iron out scheduling conflicts. He approves an apology she's written (under his name) to a playwright who felt he didn't get a prompt response to an unsolicited script (“I think you did a lovely job and I am grateful,” he tells Whitmore). He dashes off e-mails to a New York director staging “Equivocation” (a play OSF premiered last season), to the Wall Street Journal's theater critic Terry Teachout, to veteran OSF actress Catherine Coulson.

After a half-hour of multitasking, he brushes his teeth hurriedly as he stands over his desk and gathers papers to take with him, then ducks into a restroom just long enough to spit. He's due back at rehearsal.

The injection of hip-hop into the revered “Hamlet” might gall the purists, but it's a small element in Rauch's approach to the Bard. He talks about balancing two images of Shakespeare — one as a symbol of cultural stability and classic virtues, the other as a symbol of energy, societies in flux and using language in surprising, even shocking, ways.

“That's a tension that lives within this festival and that I'm thinking about all the time.”

Staying true to OSF's roots as a language-based theater, he incorporates nontraditional modes of expression to reflect the many ways Americans speak. With “Hamlet,” for instance, he cast renowned deaf actor Howie Seago, who performs using American Sign Language, as the Ghost.

The clarity and flow of the Ghost's scenes ride on the success of a technically tricky device. The idea is to project the Ghost's lines on a wall behind the scene. The timing, though, is devilish. The rhythm of Seago's scenes with Dan Donohue's Hamlet has to feel right, and the projections have to be synced with Seago's movements and have to remain on the wall long enough for the audience to read them and yet not throw off the rhythm.

“This afternoon is a big moment of truth in terms of deciding whether we stick with the subtitles or not,” says Rauch, 47. “And if we don't, then what do we do?”

Seated in the center of the hall, the glow from a dozen laptops dotting the room, Rauch works on timing with the actors, the projection designer and others. But he's also working on contingencies, asking assistant director Ed Iskandar to prepare a list of who'd be available to do a voiceover of the Ghost's lines from the booth.

Intermittently, the stage manager calls out for the union-mandated 10-minute breaks. Rauch, though, is approached by the costume designer, scenic designer, assistant director, stage manager and so on. Or he answers e-mail on his iPhone. When Nicholson, the executive director, wanders in for a look, Rauch greets him with a cheerful, “Hi Paul. Welcome to Denmark!”

Even during periods of late-night rehearsals, Bill Rauch is back in the office early planning for the future — such as working out the staging for “The Merchant of Venice,” to open in June. “In some ways he’s the best boss and the worst boss,” laughs Claudia Alick, an associate producer. “He’s always working, always connecting with people, always friendly. That makes me want to work harder and learn how to be as effective as he is. But then, I’ll work late and send him a message, and I’ll get a reply in 20 seconds! And I’m thinking: ‘Dude, it’s midnight. Don’t you ever quit?’ ”
ON HIS WAY TO HIS CAR, Rauch runs into Christopher Liam Moore, his partner since they were Harvard undergrads in the mid-1980s. Moore is directing “Cat on a Hot Tin Roof,” and the two compare notes. Then Rauch rushes off to pick up Liam, the older of their two sons, from art class. They have barely an hour of family time over dinner before Rauch is due back.

“It's a precious thing because it has to be carved out very carefully,” Rauch says. “It's a struggle.

“I try to make up for how little I'm home during parts of the year by getting Liam up, making him breakfast and driving him to school. No matter how late I'm at the theater, I do that every morning.”

Back in the evening's tech rehearsal, Rauch puts on reading glasses and flips through his script. “Page 73,” he says. “We want to get to Page 80 tonight, so not bad, not bad.” He makes suggestions but he constantly solicits others: “My instinct is that it should go like this. What feels right to you?”

He considers himself an editor of other people's good ideas and says he's “collaborative to a pretty extreme degree. Mostly I think that's a really good thing. But there are moments when it tips the other way into chaos.”

On this evening, he keeps chaos at bay, even if things don't run perfectly. Any hint of frustration in the room he meets with gentleness. “If you hear any irritation in my voice,” he tells Acebo and Iskandar at one point, “it's with myself, because I'm unhappy with my options.”

Finally, he ends the rehearsal, calling out, “Thank you, everybody, for a great day.” He stays later with a few key personnel to plot out the next day's agenda. It's midnight when he leaves the theater.

Rauch and staff watch a tech rehearsal for “Hamlet.”
IN SEVENTH GRADE, Rauch was so taken with a production of “A Midsummer Night's Dream” that he wrote his own modern-language adaptation as a class project; the next year, he directed it with a cast of seventh-graders. He also wrote a couple of short plays in high school and acted a little bit (“It's not a pretty sight,” he chuckles).

The eldest of four children, he grew up moving between New Jersey, Florida, Connecticut and Virginia — “some of those states multiple times” — following his father's marketing jobs.

At Harvard, his love of theater blossomed. Diving into a vibrant off-campus theater scene, with shows mounted frequently in houses and other makeshift spaces, Rauch directed 26 plays during college. He and his friends, dismayed by studies at the time that said 98 percent of Americans never attended theater, decided they wanted to create theater for and with those people.

In 1986 he and a friend from Harvard, Alison Carey, co-founded Cornerstone Theater Company. It quickly gained notice by collaborating with community groups to develop shows — often adaptations of classic plays — often about issues of specific relevance to the place and people involved. “They were one of the few theater companies getting national attention for exploring new ways of thinking about audiences,” say Michael Rohd of Portland's Sojourn Theatre, who tracked the group down for that reason and worked as assistant director on a 1990 show. “They wanted to find out what the other 98 percent were doing and what was interesting to them.”

For its first five years Cornerstone moved from one rural outpost to another, creating a Wild West “Hamlet” in Marmarth, North Dakota; a mixed-race “Romeo and Juliet” in Port Gibson, Mississippi; and, in 1988, a production of Brecht's “Good Woman of Setzuan” in Long Creek, Oregon. In 1992, the group settled in Los Angeles, where it remains a prominent part of the theater scene, reaching out to disparate ethnic and economic enclaves.

“I came at the Cornerstone approach more from a philosophical standpoint,” says Carey, who now works on at OSF, overseeing the development of new plays about American history. “For Bill it was who he is. He's a person who, when he walks into a room, he instantly wants to include you in whatever he's doing.”

A detail of a set model designed by scenic designer Richard Hay for “The Merchant of Venice.” Bill Rauch (whose hand is in the foreground) will direct. 
RAUCH DECIDED EARLY ON that Cornerstone was going to be his life's work. But in 2002, Libby Appel hired him to direct Robert Schenkkan's “Handler” for OSF, and he began to think about a change.

“The scale of the operation, the quality of the acting company, how much I love being in this town — it just jelled.”

He came back as a guest director over the next few years and eventually was chosen as successor for the retiring Appel. He began full-time work in Ashland in June 2007.

Compared to Cornerstone, OSF is massive, with a budget nearly 20 times as big and far greater organizational complexity. But Nicholson, the executive director with the corporate background in management accounting, lauds Rauch's grasp of finances. Says Rauch, “What I love about my relationship with Paul is that there are moments when I'm the fiscally conservative one and he's the one pushing for the art to go further.” Their compatibility paid off last season in particular, when, despite a crushing recession and precautionary budget cuts, OSF set attendance and revenue records.

Nicholson says Rauch was chosen to help find a fresh angle on OSF's steady path. Notable changes so far have included forays outside the Western theatrical canon (an ancient Sanskrit play, “The Clay Cart”; Wole Soyinka's Nigerian drama “Death and the King's Horseman”), a greater investment in musicals and Carey's program, “American Revolutions: The United States History Cycle.” But Nicholson also points to key ways Rauch has rethought old OSF habits.

For instance, the season traditionally opens with a Shakespeare play in the Bowmer Theatre, and that play always had been the first to begin technical rehearsals. What that meant, though, Rauch realized, was the most complicated play they'd be presenting would have the shortest amount of regular rehearsal, where the real dramatic nuances are developed. So he changed the schedule to put the time where it was needed most. “One thing I hate is the words: 'That's how we've always done it,'” Nicholson recalls him saying.

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