60 Sentences With "upper circle" | Random Sentence Generator

The snow was like a lamb Shorn in the upper circle.

"England is in the gallery, the tropics in the upper circle, Australia on the dress circle and the antarctic in the pit," he wrote.

Void of blue and seen as blur—assuming you are, like me, seated in the upper circle—she is uniformly tawny gold, from head to pointed toe.

He managed to hang on to the upper circle and was not injured.

There are four private boxes on the Dress Circle level, as well as two proscenium boxes on the Upper Circle balcony.

The safety curtain features a painted design of drapes, and framed in the centre is a projection screen. At Grand Circle level two boxes on either side of the auditorium continue where the grand circle balcony finishes. A further box (now disused) is located at Upper Circle level above this, with an elaborate domed canopy. Three domed alcoves sit along either side of the upper circle.

By the 1960s, Afro-Panamanians began to organize themselves politically, aligned with the labor movement. National Center of Panamanian Workers (CNTP) was at the center of Afro-Panamanian rights. A few Afro-Panamanians broke into the upper circle. A few were elected to the national assembly of the People Party, aligned with CNTP.

Alexela Concert Hall (, earlier Nokia Concert Hall ()) is a concert hall in Tallinn, Estonia. The hall is located adjacent to Solaris Center. The hall's owner is Tallinna Kontserdimaja AS. The hall was constructed from 2007–2009. The hall consists of 1,829 seats as follows: 1,030 in the arena, 491 in the dress circle and 308 in the upper circle.

On 6 November 2019 during an evening performance of Death of a Salesman, a section of plasterboard of the ceiling above the rear upper circle of theatre collapsed onto the audience with four people being taken to hospital. The incident was caused by a localised water leak. The local authority deemed the theatre safe to re-open two days later.

The theatre has four tiers of seating, the stalls, dress circle, upper circle and balcony with a total capacity of 1,186 seats. It has seven fully licensed bars including The Green Room Cafe Bar on the ground floor and The Restaurant on the dress circle level. The theatre is served by the adjacent Royal Centre tram stop on the Nottingham Express Transit.

The Vogue Theatre has 1,161 seats, with 614 on the orchestra level, 211 in the Dress Circle, and 336 on the Upper Circle. It has curved balconies and curved ceilings in the Art Deco style. The Vogue has an elaborate modulated lighting system. The stage, made of black-painted maple, is equipped with a flying system 30 feet above the floor.

The Upper Circle is accessed via a door to a stairwell to the left of the main Bath Street entrance. The Gallery is accessed via a staircase at the back of the building with its own entrance on Elmbank Street. The auditorium seats 1,785. The ceiling panelling fans out from a single centre ceiling rose - each panel originally contained painted scenes, although they are currently plain.

Each circle represents an individual entropy: H(x) is the lower left circle, H(y) the lower right, and H(z) is the upper circle. The intersections of any two circles represents the mutual information for the two associated variables (e.g. I(x;z) is yellow and gray). The union of any two circles is the joint entropy for the two associated variables (e.g.

Lee Bernard. "Swash-buckling Savoy curtain- raiser", Sheffield Telegraph, 1 August 2008 W. J. MacQueen-Pope commented, concerning such curtain raisers: :This was a one-act play, seen only by the early comers. It would play to empty boxes, half-empty upper circle, to a gradually filling stalls and dress circle, but to an attentive, grateful and appreciative pit and gallery. Often these plays were little gems.

Lee Bernard. "Swash- buckling Savoy curtain-raiser", Sheffield Telegraph, 1 August 2008 W. J. MacQueen-Pope commented, concerning such curtain raisers: :This was a one-act play, seen only by the early comers. It would play to empty boxes, half-empty upper circle, to a gradually filling stalls and dress circle, but to an attentive, grateful and appreciative pit and gallery. Often these plays were little gems.

Lee Bernard. "Swash-buckling Savoy curtain-raiser", Sheffield Telegraph, 1 August 2008 W. J. MacQueen-Pope commented, concerning such curtain raisers: :This was a one-act play, seen only by the early comers. It would play to empty boxes, half-empty upper circle, to a gradually filling stalls and dress circle, but to an attentive, grateful and appreciative pit and gallery. Often these plays were little gems.

The rebuilt Theatre Royal opened on 13 December 1910. Built for Sir William Shipley and Captain Reginald Shipley, it was designed by Frank Verity, the son of the theatre architect Thomas Verity.The new theatre's facade was designed in the early English Renaissance style. The auditorium could seat 850 people: 164 in the stalls; 110 in the dress circle; 130 in the upper circle, and 380 in the gallery.

Historic B-listed, Victorian Auditorium – This will be restored to its former glory. The upper circle will be reinstated and an orchestra area will be re-introduced. The theatre will also benefit from improvements to seating, sightlines, circulation, ventilation, lighting and new equipment. Studio Theatre – A new 200-seat capacity, courtyard-style studio theatre will be built to meet the demand for staging small to mid-scale performances.

Looking down onto the ground floor Ground floor in the White Rose Centre The Upper Circle Food Court The White Rose Centre is a shopping centre in the Beeston area of Leeds, West Yorkshire, England. It spans two floors and is near the M621 motorway. It takes its name from the White Rose of York, the traditional symbol of Yorkshire. The Upper Level houses the centre's food court as well some retail outlets.

Large-scale musicals have included the award-winning Carmen Jones, Chicago, Cats and Miss Saigon, whilst the comedies, rock & roll musicals, children's shows and a Christmas pantomime are regular features in the theatre's programme. The theatre is split into three levels: Stalls, Royal Circle and Upper Circle, with the Royal Circle and Stalls having disabled seating available. The first three rows of the stalls (AA, BB and CC) are removed if space is needed for an orchestra pit.

The new theatre was named the Theatre Royal and Opera House. It was constructed of brick with stone dressings and comprised an orchestra pit, stalls, a dress circle of three rows, an upper circle, which had the unusual feature of its own retiring rooms, and a very large gallery which allowed for unobstructed views. The entrance façade was built in the classical style with three wide bays of giant pilasters."Matcham's Revills'" by Michael Sell; Wilmore, p. 62.

Cloudland also had an upper circle of tiered seating which overlooked the floor and stage. An impressive tall domed entrance which features a wide, white, 18 metre tall arch was also visible from surrounding suburbs. Cloudland was purchased by sisters Mya Winters & Francis Rouch for £16,000 and re-opened on 24 April 1947. On 2 September 1948 Laurence Olivier and Vivien Leigh visited after doing the play School for Scandal for a débutants ball for the "Royal society of St George".

"Swash- buckling Savoy curtain-raiser", Sheffield Telegraph, 1 August 2008 W. J. MacQueen-Pope commented, concerning such curtain raisers: :This was a one-act play, seen only by the early comers. It would play to empty boxes, half-empty upper circle, to a gradually filling stalls and dress circle, but to an attentive, grateful and appreciative pit and gallery. Often these plays were little gems. They deserved much better treatment than they got, but those who saw them delighted in them.

It would play to empty boxes, half-empty upper circle, to a gradually filling stalls and dress circle, but to an attentive, grateful and appreciative pit and gallery. Often these plays were little gems. They deserved much better treatment than they got, but those who saw them delighted in them. ... [They] served to give young actors and actresses a chance to win their spurs ... the stalls and the boxes lost much by missing the curtain-raiser, but to them dinner was more important.

It would play to empty boxes, half-empty upper circle, to a gradually filling stalls and dress circle, but to an attentive, grateful and appreciative pit and gallery. Often these plays were little gems. They deserved much better treatment than they got, but those who saw them delighted in them. ... [They] served to give young actors and actresses a chance to win their spurs ... the stalls and the boxes lost much by missing the curtain- raiser, but to them dinner was more important.

It would play to empty boxes, half-empty upper circle, to a gradually filling stalls and dress circle, but to an attentive, grateful and appreciative pit and gallery. Often these plays were little gems. They deserved much better treatment than they got, but those who saw them delighted in them. ... [They] served to give young actors and actresses a chance to win their spurs ... the stalls and the boxes lost much by missing the curtain-raiser, but to them dinner was more important.

It would play to empty boxes, half-empty upper circle, to a gradually filling stalls and dress circle, but to an attentive, grateful and appreciative pit and gallery. Often these plays were little gems. They deserved much better treatment than they got, but those who saw them delighted in them. ... [They] served to give young actors and actresses a chance to win their spurs ... the stalls and the boxes lost much by missing the curtain- raiser, but to them dinner was more important.

"Swash-buckling Savoy curtain-raiser", Sheffield Telegraph, 1 August 2008 W. J. MacQueen-Pope commented, concerning such curtain raisers: :This was a one-act play, seen only by the early comers. It would play to empty boxes, half-empty upper circle, to a gradually filling stalls and dress circle, but to an attentive, grateful and appreciative pit and gallery. Often these plays were little gems. They deserved much better treatment than they got, but those who saw them delighted in them.

It would play to empty boxes, half-empty upper circle, to a gradually filling stalls and dress circle, but to an attentive, grateful and appreciative pit and gallery. Often these plays were little gems. They deserved much better treatment than they got, but those who saw them delighted in them. ... [They] served to give young actors and actresses a chance to win their spurs ... the stalls and the boxes lost much by missing the curtain-raiser, but to them dinner was more important.

"Swash-buckling Savoy curtain- raiser", Sheffield Telegraph, 1 August 2008 W. J. MacQueen-Pope commented, concerning such curtain raisers: :This was a one-act play, seen only by the early comers. It would play to empty boxes, half-empty upper circle, to a gradually filling stalls and dress circle, but to an attentive, grateful and appreciative pit and gallery. Often these plays were little gems. They deserved much better treatment than they got, but those who saw them delighted in them.

"Swash-buckling Savoy curtain-raiser", Sheffield Telegraph, 1 August 2008 W. J. MacQueen-Pope commented, concerning such curtain raisers: :This was a one-act play, seen only by the early comers. It would play to empty boxes, half-empty upper circle, to a gradually filling stalls and dress circle, but to an attentive, grateful and appreciative pit and gallery. Often these plays were little gems. They deserved much better treatment than they got, but those who saw them delighted in them.

"Swash-buckling Savoy curtain-raiser", Sheffield Telegraph, 1 August 2008 W. J. MacQueen-Pope commented, concerning such curtain raisers: :This was a one- act play, seen only by the early comers. It would play to empty boxes, half- empty upper circle, to a gradually filling stalls and dress circle, but to an attentive, grateful and appreciative pit and gallery. Often these plays were little gems. They deserved much better treatment than they got, but those who saw them delighted in them.

The White Rose Centre is involved in a number of social welfare activities in the local area. Older people are able to participate in mall walking within the covered environment. It houses the White Rose Learning Centre run in conjunction with Education Leeds and Leeds City College to provide dance classes and other educational activities for children at risk of exclusion from school in an informal environment. The Quiet Room in the Upper Circle is available for use by all patrons and staff during the Centre opening hours.

The ceiling represents the north > polar regions, England is in the gallery, the tropics in the upper circle, > Australia on the dress circle and the Antarctic in the pit. > A myriad computers are at work upon the weather of the part of the map where > each sits, but each computer attends only to one equation or part of an > equation. The work of each region is coordinated by an official of higher > rank. Numerous little "night signs" display the instantaneous values so that > neighbouring computers can read them.

Matcham made additional alterations to the theatre in 1902 which included reducing the seating capacity to 1,769 (stalls 57, dress circle 103, balcony 122, fauteils 137, upper circle and amphitheatre 300, pit 518, gallery 500, private boxes 32) and placed four classical statues representing Tragedy, Comedy, Music and Dance on top of the building. The theatre re-opened with Merrie England on Coronation Day, 1902. In 1907 a new ventilation system was fitted which made the Prince's one of the grandest and most comfortable of all the provincial venues.

In its original 1879 version, the auditorium of the Grand Théâtre was shaped like a horseshoe (in the "Italian" style) with several tiers of balconies and boxes surrounding the auditorium on three sides. After the 1962 renovations, the auditorium's oval seating arrangement was altered to adopt a German-style "square" shape, where a full view of the stage is possible from any one of the auditorium's 1,488 seats (593 in the stalls, 199 in the first circle, 161 in the second circle and 535 in the amphitheatre/upper circle).

The auditorium seats 500: above the raked stalls, the circle and upper circle balconies are stepped downwards at each side as open boxes looking towards the stage. There are nine wheelchair spaces. Internal finishes include perforated metal panels in front of the balconies to deflect sound back to the stage, the side walls are finished to reflect sound without causing echoes. The Studio Theatre is designed as a black box theatre and fitted with retractable seating which can be arranged in various configurations, seating up to 128 people.

The pavilions are topped with ball finials. Originally a female statue stood on top of either pavilion, but these were removed during the war period, to prevent them becoming damaged, however were subsequently misplaced, and have never been rediscovered. The theatre provides seating on four levels - Stalls, Grand Circle, Upper Circle and Gallery. Matcham was famous for his innovative style of cantilever construction of the individual seating tiers, which virtually eliminated the need for supporting pillars, and the King's was no exception, with reasonable sightlines from most seats.

The fashion in the late Victorian era was to present long evenings in the theatre, and so producer Richard D'Oyly Carte preceded his Savoy operas with curtain raisers such as Quite an Adventure.Lee Bernard. "Swash-buckling Savoy curtain-raiser", Sheffield Telegraph, 1 August 2008 W. J. MacQueen-Pope commented, concerning such curtain raisers: :This was a one-act play, seen only by the early comers. It would play to empty boxes, half-empty upper circle, to a gradually filling stalls and dress circle, but to an attentive, grateful and appreciative pit and gallery.

The fashion in the late Victorian era was to present long evenings in the theatre, and so producer Richard D'Oyly Carte preceded his Savoy operas with curtain raisers such as Dora's Dream.Lee Bernard. "Swash-buckling Savoy curtain-raiser", Sheffield Telegraph, 1 August 2008 W. J. MacQueen-Pope commented, concerning these curtain raisers: :This was a one- act play, seen only by the early comers. It would play to empty boxes, half- empty upper circle, to a gradually filling stalls and dress circle, but to an attentive, grateful and appreciative pit and gallery.

The fashion in the late Victorian era was to present long evenings in the theatre, and so producer Richard D'Oyly Carte preceded his Savoy operas with curtain raisers such as The Spectre Knight.Lee Bernard. "Swash-buckling Savoy curtain-raiser", Sheffield Telegraph, 1 August 2008 W. J. MacQueen-Pope commented, concerning such curtain raisers: :This was a one- act play, seen only by the early comers. It would play to empty boxes, half- empty upper circle, to a gradually filling stalls and dress circle, but to an attentive, grateful and appreciative pit and gallery.

The fashion in the late Victorian era was to present long evenings in the theatre, and so producer Richard D'Oyly Carte preceded his Savoy operas with curtain raisers such as Uncle Samuel.Lee Bernard. "Swash-buckling Savoy curtain-raiser", Sheffield Telegraph, 1 August 2008 W. J. MacQueen-Pope commented, concerning such curtain raisers: :This was a one-act play, seen only by the early comers. It would play to empty boxes, half-empty upper circle, to a gradually filling stalls and dress circle, but to an attentive, grateful and appreciative pit and gallery.

The fashion in the late Victorian era was to present long evenings in the theatre, and so producer Richard D'Oyly Carte preceded his Savoy operas with curtain raisers such as A Private Wire.Lee Bernard. "Swash-buckling Savoy curtain-raiser", Sheffield Telegraph, 1 August 2008 W. J. MacQueen-Pope commented, concerning such curtain raisers: :This was a one-act play, seen only by the early comers. It would play to empty boxes, half-empty upper circle, to a gradually filling stalls and dress circle, but to an attentive, grateful and appreciative pit and gallery.

The Williamsons had worked in New York City, at Princeton University, at the Mormon Temple in Salt Lake City and on bridge work for the Union Pacific Railroad. In 1888 they came from Salt Lake City to Lander, where they worked on a number of projects, as well as in Rawlins and at Fort Washakie. They joined their sister Jean Williamson Sinclair at the Upper Circle Ranch near Dubois in the early 1890s. David Williamson married Annie McKenzie, a friend of his sister's who had come with her from Scotland.

This Boardroom is marked as such on the original 1929 plans and it is now being hired out by the theatre's Dominion Events department for meeting, training and conference bookings. Other areas above the main foyer, which the Rank Organisation converted to office space, have been restored and now house 'The Studio' a rehearsal and audition space. The auditorium currently has a seating capacity of 2,069 in two tiers of galleries, down from the 1940 capacity of 2,858 following the closure many decades ago of the upper circle. The theatre retains its 1920s light fittings and art deco plasterwork.

The Sunderland Empire Theatre is a large theatre venue located in High Street West in Sunderland, North East England. The theatre, which opened in 1907, is owned by City of Sunderland Council and operated by Ambassador Theatre Group Ltd, on behalf of Sunderland Empire Theatre Trust. The theatre is one of the largest venues in the North East, with 1,860 seats and the capacity to accommodate 2,200 when all standing positions are occupied. The auditorium is also one of the few remaining in the UK to have four tiers, namely the Orchestra Stalls, the Dress Circle, the Upper Circle and the Gallery.

W. J. MacQueen-Pope commented, concerning the curtain raisers: :This was a one-act play, seen only by the early comers. It would play to empty boxes, half-empty upper circle, to a gradually filling stalls and dress circle, but to an attentive, grateful and appreciative pit and gallery. Often these plays were little gems. They deserved much better treatment than they got, but those who saw them delighted in them ... they served to give young actors and actresses a chance to win their spurs ... the stalls and the boxes lost much by missing the curtain-raiser, but to them dinner was more important.

Nicholas Whittaker, author of Platform Souls and Blue Period, worked in the Belsize Tavern in 1979 and 1980 and claims to recall Villiers' visits to the pub in the company of local actor Ronald Fraser. After closing time, the pair would often be found in the beer & curry restaurant opposite. Rupert Everett also claims to have encountered him in an Indian restaurant, some time in 1985, "leglessly drunk, booming orders and insults to the poor long-suffering waiter in a strange breathy vibrato that was pitched for the upper circle". Elsewhere, Villiers is described as a "big drinker" who entered into drinking competitions with his friend Peter O'Toole.

By the 1990s, more work was needed to repair and modernise the theatre, and from 1999 to 2001 an extensive programme of internal and external restoration took place. In February 2007, another refurbishment was completed at the Opera House that saw the installation of air conditioning in the gallery and backstage area, new seats in the gallery and upper circle, a new get-in lift to replace the ramp and new backstage working lights as well as re-wiring and painting the backstage area and dressing rooms. The current capacity is 902 seats. In 2011, FT Magazine featured an article on opera house design.

After the death of J. H. Chute in 1878 the theatre passed to his sons James Macready Chute and his brother George Macready Chute who on 4 August 1884 renamed the New Theatre Royal as the Prince's Theatre; this would be the theatre's name for the rest of its existence. The theatre closed for five weeks in June 1889 for redecoration while at the same time alterations to the upper circle were made to a design by the theatre architect Frank Matcham. The theatre reopened on 1 August 1889 with a production of As You Like It with Ellen Wallis as Rosalind and Frank Kemble-Cooper as Orlando. Electric lighting was added in 1895.

A view of the chandalier in the main auditorium The stage and general seating in the auditorium Located in the city of Porto, it is flanked by other buildings, implanted on land with an accentuated slope from east to west; it is addorsed to the Olímpia Cinema (in the west) and various four-storey residential/commercial buildings in the west. Opposite coliseum is a modernist garage. The main auditorium has a capacity for a standing audience of 4000 people and 3000 seated, that includes the 1st and 2nd stalls, the dress circle, the boxes, upper circle, reserved and general gallery. There is also the smaller Ático Room, with capacity for 300 people, suitable for smaller performances, conferences and symposia.

Seating in the Upper Circle was redesigned, now with an overall capacity of 1200, and the existing seats were stripped and rebuilt, an induction loop was installed for the hard of hearing and ventilation systems were completely renewed. The Dress Circle was given a much more spacious area for patrons to wait before entering the auditorium; while in the foyer new glass doors helped open the theatre to the public outside. In 1982 when the Grand re-opened it was one of the best-equipped theatres in the country. During the next ten years or so the Grand enjoyed many successes attracting the best touring companies and the theatre enjoyed by a loyal and supportive audience.

It involves around 12,000 people every year in a wide range of projects, events, courses and performances, with a goal of developing creative responses to opera and music theatre; making new work with communities and exploring individual creativity as a means of providing access to ENO's productions; and encouraging learning and development through participation of artists and collaboration of resources. The current Sadler's Wells Theatre contains a 200-seat theatre named after her, and the National Theatre has a Lilian Baylis Terrace. The upper circle in the Old Vic is called the Lilian Baylis Circle. A building in West Hampstead used by ENO for rehearsals and production wardrobe is called Lilian Baylis House.

However, for most observers, both circles appear unequal while also appearing at the same distance (on the same page). This commonly found disagreement between published data and the SDIH is known as the "size–distance paradox" (Gruber, 1956, Ono, et al. 1974). The "paradox" completely vanishes, however, when the illusion is described, instead, as basically a visual angle illusion: That is, the perceived visual angle θ′ is larger for the lower circle than for the upper circle: It is as if its retinal image were larger. So. according to the "new" perceptual invariance hypothesis, (), with θ′ larger for the lower circle, and with D′ correctly the same for both circles, then S′ becomes larger for the lower one by the same ratio that θ′ is larger.

Morley, Sheridan Theatre's Stranges Acts Robson Books 2006 p.26 Google Books Various people have reported seeing the ghost, including W. J. MacQueen-Pope, who described its usual path as starting at the end of the fourth row in the upper circle and then proceeding via the rear gangway to the wall near the royal box, where the remains were found. The ghosts of actor Charles Macklin and clown Joseph Grimaldi are also supposed to haunt the theatre. Macklin appears backstage, wandering the corridor which now stands in the spot where, in 1735, he killed fellow actor Thomas Hallam in an argument over a wig ("Goddamn you for a blackguard, scrub, rascal!" he shouted, thrusting a cane into Hallam's face and piercing his left eye).

Portrait of Barail François Claude comte du Barail (25 May 1820, in Versailles – 30 January 1902) was a major general, and French Minister of War under the presidency of Marshal MacMahon. At nineteen, he enlisted in the Oran lancers, and distinguished himself by his bravery at Mostaganem in February 1840, was mentioned in dispatches from the army in 1842, and appointed the same year, Lieutenant. Decorated for his conduct in making the tribe of Abd al-Qadir, he obtained the rank of Lieutenant after the battle of Isly, where he was wounded, and, after fighting at Laghouat, he was promoted squadron leader in the 5th regiment of hussars. The following year, he was promoted lieutenant colonel, and given command of the upper circle of Laghouat, he left for chasseurs to pass the guard.

The upper chamber over the main entrance has on both fronts a single tall arched window of pierced stone tracery: a central mullion branches to form two equal cusped ogee arches supporting a circular member in the head of the main window arch, intersected by a sigmoid curve in the north side and by a triskele device in the southern window. Externally this appears (on both fronts) as the central window in an arcade of three equal arches filling the breadth of the wall. The outer arches are executed in blind flushwork tracery: those of the north front both have a fourfold division of the upper circle, but with opposing or mirrored rotation. On the south front the flushwork tracery represents windows with paired mullions branching into a lattice of cusped quatrefoils above.

The conversion, unlike that of many other theatres around the country was minimal. The theatre machinery was left in situ and the key changes at this time included the construction of a projector box at Upper Circle level, a cinema screen over the stage and alterations to the entrances of the building. The conversion was carried out by the office of Frank Matcham & Co., prominent theatre architects in London. The theatre thrived as a cinema through four decades but due to a rise in the popularity of television, the number of people going to the cinema declined during the 1960s and the Stoll cinema attempted to counter this by cornering a select market showing ‘X’ rated films. This did not help maintain the cinema and it closed on 23 March 1974 after a bill of ‘Danish Bed and Board’.

The play's debut run received widespread praise from critics, with such reviews as "Beautifully written, directed and acted, Call Me Vicky reminds us how far we’ve come yet how much further we still need to go regarding rights and acceptance with the transgender community." from Upper Circle Theatre critics and "A powerful, eye-opening debut from Nicola and Stacey Bland, Call Me Vicky is well worth a watch." from Theatre Things critics. The debut production also received much praise for the performances of Peters and Greenwood, and garnered five 2019 nominations for The Off-West End Theatre Awards, known as The Offies: Best Male Performance in a play for Matt Greenwood; Best Supporting Female Performance in a play for Wendi Peters; Best Supporting Female in a play for Stacey Victoria Bland; Best Supporting Male in a play for Ben Welch; and Best Costume Design in a play for Martha Hegarty.