HMT masterclass to teach Dirty Dancing

HMT masterclass to teach Dirty Dancing

The smash-hit musical Dirty Dancing is all set to explode on to the stage at His Majesty’s Theatre in Aberdeen – and anyone who has every imagined themselves into the role of Baby is to get the chance to learn how it’s done.

For fans can book their place on an official Dirty Dancing workshop at the city centre theatre on two Thursdays during the month-long run, on March 22 and 29.

The workshops are being organised by dancer and actress Shona Lindsay, who plays the part of Marjorie Housman – Baby’s Mum – in the show, and Steven Pritchett, both tutors at The Academy for Theatre Arts.

They include four hours of choreography, songs and scene work from the first ever national tour of the iconic musical, culminating with a mini performance of The Playhouse, Kellerman's and of course, the legendary Time of my Life!

The workshop package includes a ticket to the evening performance of the production, starring Paul-Michael Jones as Johnny Castle, the role immortalized by Patrick Swayze; the chance to have a photo taken with the famous watermelon and a workshop certificate.

The package costs £60, and space on the two workshops is limited so pre-booking is essential through emailing workshops@dirtydancingontour.com.

The sizzling blockbusting musical – one of the most successful musicals in West End history - looks set to become the biggest selling show of all time at HMT – and there are still tickets available across the month-long run from Tuesday, March 6 to Saturday, March 31 from Aberdeen Box Office.

Alongside Paul-Michael, Emily Holt will be carrying the watermelon as idealistic Baby Houseman who discovers love and life in the summer she will never forget and Charlotte Gooch who burns up the dance floor as Johnny’s dancing partner Penny.
 

Posted on Monday 27 February

comments (1)

posted by Klaris1999 | Wednesday 23 May 10.56am

It is a visualized mental experiment in the spirit of the modern philosophy of consciousness, always beginning to reflect on the words "let's say that ...". Suppose that consciousness is not connected with its carrier, that it can be "copied"; suppose that you can create an electronic analog of the brain; let's say that humanity is on the verge of destruction ... And from these assumptions, as a result of several conclusions, one can draw conclusions about the real state of things. The questions raised in SOMA fit into the range of problems of the relationship of consciousness and body, the identity of the individual and are aimed at finding the essence of the human. All this is discussed here in a straightforward text, and the answers that the authors offer us leave room for reflection after the final credits. A mysterious, ambiguous, multi-interpretation narrative at the end is a linear chain and answers all questions with a powerful chord. Throughout the passage, we often face choices that seem to influence the outcome of the journey. However, this does not happen: the ending in the game is one, and all decisions made by us, have no significance for the development of the plot. This may be somewhat disappointing, but, on the other hand, it is possible that such was the intention of the authors. The final of the game can not be called unequivocally neither positive nor negative. But this is what the player SOMA- if the understanding of the device of consciousness is impossible at some fundamental level, if the question itself is paradoxically vicious play fireboy and watergirl game, then all that is in our power is humility that the belief in the inviolability and uniqueness of our "I" is just a fiction.

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