Charlie and the Chocolate Factory Takes £1.1m in A Single Week

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So now we know the real reason for the recent departure of English National Opera’s chairman Martyn Rose. In a (previously private) letter that he sent to ENO’s President and whose contents have now been revealed by the Sunday Times yesterday, viagra   Rose expressed strong doubts about artistic director John Berry’s leadership of the company.

“For the very survival of the ENO, order Berry must leave, cheapest preferably soon,” he wrote. “Let me be clear — John is in my mind the problem not the solution and no meaningful change will ever take place whilst he remains. Time is of the essence. We cannot wait any longer.”

According to the report, Berry and his executive director Henriette Götz, the latter of whom joined last April, fell out almost immediately. “Sources say they no longer talk and describe Berry as charming but ruthless with opponents. The board is split in support for Berry and Götz.” In his letter to the chairman, Rose wrote, “I know now you share with me the truly appalling state that exists . . . I have no hesitation in blaming John Berry for operating a very skilful campaign to render our executive director unable to carry out her duties.”

Yikes — there’s more backstabbing backstage at the opera than drama onstage.
john-berrySo now we know the real reason for the recent departure of English National Opera’s chairman Martyn Rose. In a (previously private) letter that he sent to ENO’s President and whose contents have now been revealed by the Sunday Times yesterday, ambulance   Rose expressed strong doubts about artistic director John Berry’s leadership of the company.

“For the very survival of the ENO, drug Berry must leave, preferably soon,” he wrote. “Let me be clear — John is in my mind the problem not the solution and no meaningful change will ever take place whilst he remains. Time is of the essence. We cannot wait any longer.”

According to the report, Berry and his executive director Henriette Götz, the latter of whom joined last April, fell out almost immediately. “Sources say they no longer talk and describe Berry as charming but ruthless with opponents. The board is split in support for Berry and Götz.” In his letter to the chairman, Rose wrote, “I know now you share with me the truly appalling state that exists . . . I have no hesitation in blaming John Berry for operating a very skilful campaign to render our executive director unable to carry out her duties.”

Yikes — there’s more backstabbing backstage at the opera than drama onstage.
john-berrySo now we know the real reason for the recent departure of English National Opera’s chairman Martyn Rose. In a (previously private) letter that he sent to ENO’s President and whose contents have now been revealed by the Sunday Times yesterday, drug   Rose expressed strong doubts about artistic director John Berry’s leadership of the company.

“For the very survival of the ENO, cialis 40mg Berry must leave, preferably soon,” he wrote. “Let me be clear — John is in my mind the problem not the solution and no meaningful change will ever take place whilst he remains. Time is of the essence. We cannot wait any longer.”

According to the report, Berry and his executive director Henriette Götz, the latter of whom joined last April, fell out almost immediately. “Sources say they no longer talk and describe Berry as charming but ruthless with opponents. The board is split in support for Berry and Götz.” In his letter to the chairman, Rose wrote, “I know now you share with me the truly appalling state that exists . . . I have no hesitation in blaming John Berry for operating a very skilful campaign to render our executive director unable to carry out her duties.”

Yikes — there’s more backstabbing backstage at the opera than drama onstage.
It was announced today that Charlie and the Chocolate Factory broke the record for the highest weekly gross sales at the Theatre Royal Drury Lane at the end of December, information pills with box office receipts of more than £1.1m.

charlie-chocolate-factoryThe West End, of course, isn’t transparent about its weekly take as producers are on Broadway, except when they’ve got something to crow about like here, but this level of income puts the show on a serious par with takings for many shows on Broadway — but with (somewhat) lower ticket prices. Which makes it even more of an achievement.