2017: End-of-year theatre review

Introduction

In early 2017, a consortium of Manchester theatres organised a writing competition with the aim of getting more people involved in theatre criticism and review.

I was fortunate enough to be one of the ten winners of that competition and the result has been the creation of this blog: The Greater Manchester Reviewer.

Prior to winning the competition I had been nothing more than a reasonably keen theatre-goer, but now I combine the pleasure of seeing performances with the challenge of creatively writing about them. A whole new world of cultures and characters has opened up – some as fascinating as the shows themselves!

As seems to be the custom for the more professional reviewers out there, I’ve spent some time evaluating what I’ve seen and have produced a list of my favourite shows this year.

This is a list where the rankings are based upon one mandate alone: entertainment. Whether it was conventional theatre in the shape of e.g. a classic novel being adapted for the stage, or whether it was something entirely experimental and innovative; whether it involved singing, dancing, acting, rapping, gymnastics, beat-boxing, throwing biscuits at the audience, eating Kit Kats, or any other form of artistic expression – if it entertained then it appears higher on the end-of-year rankings.

Given that The Greater Manchester Reviewer as a blog only fully took off from March onwards, there may be some productions from January and February that are not included here. And even then, there will still be many other shows missing from the below list – it just isn’t possible for one person to see everything.

However, despite this, the story of theatre in 2017 for The Greater Manchester Reviewer has been a story of 55 theatrical performances across 13 different venues in the Greater Manchester area:

  • Bolton: The Octagon
  • Manchester: 53Two, Contact Theatre, Home Theatre, Hope Mill Theatre, Nexus Art Cafe, Royal Exchange Theatre, The Great Northern, The Palace Theatre & Opera House
  • Oldham: The Coliseum
  • Salford: The Lowry, The Salford Arms
  • Stockport: The Forum (Romiley)

At the very top of the rankings are those shows that delivered entertainment in new and innovative ways. In some cases I had no idea that some of these concepts and ideas even existed out there, in other cases they were more conventional performances that happened to be brilliantly entertaining.

All those listed towards the top have the elusive attribute of being shows where I would insist “you must go and see it”, as opposed to those in the middle, where it would be more a case of “yes, I’ve seen it, not bad, worth going”.

Even for those at the bottom of the list, the on-stage acting / singing / dancing performances were never the issue – the shows at the bottom are only there because I feel (and this is only my personal opinion) that they are in some way deficient in concept, viability, innovation, writing or construction – again with the fundamental mandate in mind: “I want to be entertained.”

2017 performance rankings

I’ve decided to rank everything I’ve seen in order of what entertained me the most and what I’d most like to see again (or not).

I’ve gone into a little bit more detail on the top ten, trying to summarise just what it was that made them so special. For the rest I’ve kept the summary brief, attempting to encapsulate what I thought of it as succinctly as I can.

Surveying the full list, I would say, in hindsight, that I’d actively seek out the chance to go and see everything in the top ten again (and in one case I did), below that are some very good shows, though I feel less affection for them.

Click on the title of each performance to read the original review …

1: We Are Ian

Venue: Home Theatre, Manchester
Date: Friday 13th October, 2017
Production team: In Bed with My Brother

We Are Ian

A washed-up old Manc crank bangs on about the good times. Somehow, the outlandish ramblings of a 46-year-old painter & decorator were magically crafted into one of the finest and on-point studies of the ’80s and ’90s Madchester scene that you could ever hope to come across. Music and attitudes that defined a generation, dancing like there’s no tomorrow, biscuits flying everywhere – We Are Ian tops the 2017 list because it was just relentlessly stupid fun. Never before has listening to someone else’s stories about their mad nights out turned into a good night out in itself – the most enjoyable hour of entertainment I’ve experienced this year.

Emotional impact: Giggling like a dribbling baby who loves being tickled.

2: Birdie

Venue: Home Theatre, Manchester
Date: Thursday 6th April, 2017
Production team: Agrupación Señor Serrano

Birdie_Pasqual_Gorriz_4-466x328

Birdie is documentary-making genius of the highest order. The most astonishing thing about it is the fact that the full hour of this mesmeric multimedia performance is based on the forensic decomposition of a single photograph – a picture may paint a thousand words but this one has somehow spawned a stunning piece of theatrical creativity. Birdie is one of the most intellectually challenging pieces of curio-investigative analytics I’ve ever come across, including everything I’ve ever seen on stage, screen, radio, paper, or internet – and it’s exquisitely presented as a live performance, oozing artistic beauty from start to finish.

Emotional impact: Wide-eyed astonishment that anyone could produce something so clever.

3: Moore Bacon!

Venue: Home Theatre, Manchester
Date: Saturday 8th July, 2017
Production team: Bosse Provoost (Director) and Kobe Chielens (performer)

MooreBacon

An hour of being sat in pitch-black darkness in agonising silence, waiting impatiently, wondering nervously about what it would do next. Though it was human flesh, with two senses switched off it became horrifying and intolerable, inflicting the kind of slow, creeping mental terror that I didn’t think could be achieved with an otherwise simple act of physical theatre. Even now, with time to reflect, it feels almost unacceptable, as if someone has dared to confront me with some kind of taboo that shouldn’t be talked about. Moore Bacon! is right up there with the top thrillers & horrors from the world of cinema, so simple yet incredibly effective.

Emotional impact: Alarmed and also slightly ashamed that someone could warp my mind so easily.

4: Hot Brown Honey

Venue: Home Theatre, Manchester
Date: Thursday 14th December, 2017 & Wednesday 20th December, 2017
Production team: Briefs Factory

Hot Brown Honey pic 08 - photo by Dylan Evans
Photo by Dylan Evans

These Queen Bees from Down Under preached revolution – by the end of it I was fully converted to the cause. As with We Are Ian, this was a foot-stomping, happy-clapping hour of head-banging madness – they could have pulled my pants down and stolen my wallet and I still would have been grateful for the good times. A series of top-notch cabaret acts gave the sweet-toothed audience what they craved: a relentless barrage of wondrous entertainment, each performer also emphatically delivering a ethni-feminist punch to the theatrical face. As they said themselves: “revolution never tasted so sweet.”

Emotional impact: Fists clenched, head nodding: “Let’s fucking do this”.

5: MK Ultra

Venue: Home Theatre, Manchester
Date: Wednesday 3rd May, 2017
Production team: Rosie Kay Dance Company

MK ULTRA pic 2 - credit Brian Slater
Image credit: Brian Slater

Rosie Kay’s troupe of super-high-energy dancers unleashed a brainwashing modern dance performance that served to hypnotise and mesmerise. With terrifying video clips and audio commentary provided by the king of conspiracy theorism himself (Adam Curtis), MK Ultra communicated (through the medium of dance) the alarming suggestion that the world as we know it is actually run by a secretive elite who are endlessly working to control every aspect of ordinary people’s lives. Fast and slick with a thumping electro-dance soundtrack – MK Ultra was just too cool for school.

Emotional impact: I wish I had friends as cool as this.

6: Castle Rock

Venue: Home Theatre, Manchester
Date: Thursday 6th July, 2017
Production team: Massive Owl Theatre Company

CastleRock

A wimpy little kid trains hard to fight his big brother, but things change and he instead ends up facing a speeding train, head-on. Castle Rock was a dark and menacing thriller, one in which the tension was cranked up slowly with the deployment of vocally-induced backing music and the improper use of an overhead projector. This was a slow burner, it took about 15 minutes to make sense of the abstractism being portrayed on stage, but once it did the terrifying showdown between boy and train became ever more agonisingly difficult to watch, a genuine hide-behind-your-popcorn moment.

Emotional impact: Makes me so uncomfortable, but I need to know …

7: The Threepenny Opera

Venue: The Octagon Theatre, Bolton
Date: Saturday 28th October, 2017
Production team: David Thacker (Director)

TheThreepennyOpera

Cheeky Northern schemers out-scheme crafty Cockney schemer. The highest-placed of the more conventional “plays” on this list, The Threepenny Opera is a tried and tested staple of the big stage, a truly safe bet for any theatre. But this performance at the Bolton Octagon stood out because it was a genuine, laugh-a-minute episode of slapstick silliness. Two decisions seem to have transformed this from a boring, seen-it-all-before repeat to something a lot more fun: firstly the casting was a stroke of genius, inviting former soap stars who inevitably transported aspects of their well-known and much-loved characters into the story; secondly, the simple decision to allow the actors to use the foulest language that they could think of, in my opinion this was an act of liberation and led to some of the finest and most forceful acting performances I’ve seen this year.

Emotional impact: Like watching your own mates bossing the school play, and getting away with it.

8: The Suppliant Women

Venue: The Royal Exchange Theatre, Manchester
Date: Tuesday 28th March, 2017
Production team: Royal Exchange Theatre, Actors Touring Company and Royal Lyceum Theatre Edinburgh

33454568725_d7008a0553

Written nearly three millennia ago, this ancient Greek tragedy is a crushing tale of violence, persecution and a rebellious bid for freedom. Much was written about the themes of sexual violence, women’s rights and fleeing by boat to foreign lands to seek refuge. The powerful messages were irresistible and undeniable, literally amplified and justified by the fact that they were delivered by a huge chorus of women who sang the entire script in unison. Accompanied by backing music played on traditional Greek instruments, this performance pushed the mind into new and unexpected realms of time-travelling imagination. The Suppliant Women stands out as a captivating and engaging example of big-stage drama.

Emotional impact: Magnetic – felt like I was down there on the stage, in amongst the singing crowd, being swayed and pulled and dragged along.

[Note: Having transferred to the Young Vic Theatre in London towards the end of 2017, the director of The Suppliant Women has recently been the subject of allegations of harassment and inappropriate behaviour. Given these circumstances, and the fact that the play is about the oppression of women, I was uncertain as to whether or not I should be including The Suppliant Women in this list. After much consideration, I have decided to place it at number 8 on my list, rather than let the actions of one individual define the lingering response to this play and deny the rest of the production / performance team the credit that they are justifiably due.]

9: The Weir

Venue: The Coliseum Theatre, Oldham
Date: Friday 27th October, 2017
Production team: English Touring Theatre and Mercury Theatre Colchester

TheWeir

Set in a cosy old Irish pub where the locals seem to have had a few too many, The Weir picks up the ancient art of telling ghost stories and adds just enough to turn it into a warm and cuddly stage performance. Constrained physically within the walls of a rural and isolated pub, with discomfort added in the form of the universally-abhorred threat of bad weather – a series of clever little theatre-maker’s tricks all conspired to make the characters seem like part of the audience and the audience feel like eavesdroppers on genuine conversations. Moody theatre at its finest.

Emotional impact: Got sucked right in, even shivered a bit at the sound of cold, Atlantic winds screaming around the door frames.

10: Letters to Windsor House

Venue: Home Theatre, Manchester
Date: Wednesday 19th April, 2017
Production team: Sh!t Theatre

LTWH

Using a sound legal argument that only men can be prosecuted for opening other people’s mail, the cheeky double act that is Sh!t Theatre delved deep into the illicit stream of private details that dropped through their letter box, and in doing so revealed just how hopeless the housing market in Britain is today. A delightfully pitched mixture of the very serious and the downright silly, this was a great example of how to make a song and dance about something bad and yet keep it entertaining without being preachy.

Emotional impact: Saddened by the depressing theme, inspired by the jingly jangly happiness of the delivery.

11: Tank (Breach Theatre) – Home Theatre, Manchester.

Shocking dolphin masturbation re-enactment, top theatre crafted out of unbearable sex-tension.

12: Jubilee (Royal Exchange Theatre and Chris Goode & Company) – Royal Exchange Theatre, Manchester.

Riotous take-over of both theatre and mind: anarchic in every way.

13: Charlie and the Bukowskies (Nineties Productions) – Home Theatre, Manchester.

Best middle class porn since Eurotrash, like gatecrashing an amazing private party before quickly realising that you should probably leave.

14: Scorch (Prime Cut Productions) – Contact Theatre, Manchester.

Confused teenager spirals towards a sex crime, but not in the way that you might imagine.

15: The Shawl – 53Two, Manchester

Devious clairvoyant exploits and out-charms all around him.

16: The Kite Runner (Nottingham Playhouse Theatre Company and Liverpool Everyman) – The Lowry, Salford

Top-selling novel crafted into a big-stage work of art.

17: Persuasion – Royal Exchange Theatre, Manchester.

Safe and steady literary classic transformed into a lively foam party in Bath.

18: Good Grief (Soho Theatre and Jack Rooke) – Home Theatre, Manchester.

Jonathan Creek lookalike shares his personal grief, group hugs all round.

19: Uncle Vanya – Home Theatre, Manchester.

Smart, elegant and professional – a safe and steady theatrical classic done absolutely right.

20: BEARS (Powder Keg Theatre) – Royal Exchange Theatre, Manchester.

Kit Kats and ghastly whiny noises – an unexplainable mind-opener.

21: The Marriage of Kim K – 53Two, Manchester.

Opera meets reality TV = audience wins.

22: One (BOG) – Home Theatre, Manchester.

Line drawings of sex acts used as musical score for a solo vocal performance. Beyond explanation.

23: Jane Eyre (National Theatre and Bristol Old Vic) – The Lowry, Salford.

Safe and steady literary classic, held aloft by the strength of the underlying story.

24: The Hound of the Baskervilles (Northern Rep) – The Great Northern, Manchester.

Mad-cap and very intimate comedic romp through a safe and steady literary classic.

25: Greyhounds (Laura Crow) – The Salford Arms, Salford.

Cosy little play about a play during WWII.

26: Leopard Murders (K.U.R.S.K) Home Theatre, Manchester.

Shocking family secret crafted into a fascinating documentary.

27: Gutted (Conker Group) – Home Theatre, Manchester.

Honest and revealing documentary about life with a serious and embarrassing illness.

28: Road (NK Theatre & Arts) – The Forum Theatre, Romiley.

Amusing portrayal of Northern life by aspiring sixth-formers.

29: I Capture The Castle (Octagon Theatre Bolton, Watford Palace Theatre & Kevin Wallace Limited in Association with Deborah Ward) – Octagon Theatre, Bolton.

Soppy old love story but somehow it charmed and impressed.

30: Pippin – Hope Mill Theatre, Manchester.

Musical extravaganza with a strangely fractured plot.

31: Man on the Moon (commissioned by STUN and Contact Theatre, supported by Arts Council England and Apples & Snakes) – Contact Theatre, Manchester.

Intimate stories from south Manchester, where a father and daughter struggle to interact.

32: How My Light Is Spent (Royal Exchange Theatre, Theatre by the Lake and Sherman Theatre) – Royal Exchange Theatre, Manchester.

Inspirational love story born from sordid chat lines.

33: Cosmic Scallies (Royal Exchange Theatre and Graeae Theatre Company) – Royal Exchange Theatre, Manchester.

The harsh realities of disability and poverty laid bare.

34: Returning to Reims (Schaubühne, Manchester International Festival and Home) – Home Theatre, Manchester.

A slick and polished tale of self-discovery, though kept getting a little too left-wing preachy throughout.

35: Edward Gant’s Amazing Feats Of Loneliness! (People Zoo Productions) – Hope Mill Theatre, Manchester.

Extravagant tales from a conniving trickster.

36: Rose – Home Theatre, Manchester.

Intense solo performance recalling personal suffering. Perhaps one for the radio, rather than the theatre?

37: Freak (MAP Productions) – 53Two, Manchester.

Two women reveal their very powerful and differing experiences of sex.

38: Our Town – Royal Exchange Theatre, Manchester.

Nostalgic tales of love and life in small-town America.

39: A Grey Divide (Postcard Theatre) – Nexus Art Cafe, Manchester.

A first date from hell – or is it??

40: The Believers Are But Brothers (Javaad Alipoor) – Home Theatre, Manchester.

Undercover mission into the hi-tech world of online terrorism.

41: Fatherland (Manchester International Festival, Frantic Assembly, Royal Exchange Theatre, Lyric Hammersmith and LIFT) – Royal Exchange Theatre, Manchester.

Men and their emotions – a rare insight.

42: Parliament Square (Royal Exchange Theatre and Bush Theatre) – Royal Exchange Theatre, Manchester.

Bleak and troubling tale of one woman’s shocking breakdown as a result of misguided belief.

43: My Version of Events (Take Back Theatre) – Hope Mill Theatre, Manchester.

Believable and disturbing portrayal of what sexual consent means.

44: Morale Is High (Since We Gave Up Hope) (Powder Keg Theatre) Contact Theatre, Manchester.

Heavy metal dude returns from the future to reveal all.

45: The People Are Singing (Royal Exchange Theatre in association with World Stages) – Royal Exchange Theatre, Manchester.

A sad story of war and the trauma it inflicts.

46: Dirty Dancing – Palace Theatre, Manchester.

Perfectly safe and steady Hollywood classic, nothing new offered.

47: The Tenant of Wildfell Hall (Octagon Theatre & York Theatre Royal) Octagon Theatre, Bolton.

Perfectly safe and steady literary classic, nothing new offered.

48: Twelfth Night – Royal Exchange Theatre, Manchester.

Perfectly safe and steady stage classic, nothing new offered.

49: Sister Act (Curve, Leicester) – Palace Theatre, Manchester.

Perfectly safe and steady Hollywood classic, with all the magic taken out.

50: Heads Up (Show and Tell) – Home Theatre, Manchester.

One man reading for an hour, fine on the radio, but not for theatre.

51: Baardeman (Simon de Winne & Tibaldus) – Home Theatre, Manchester.

One man dancing, amusing for 3 mins, but not for an hour.

52: Winter Hill – Octagon Theatre, Bolton.

Poorly constructed concept – too obvious an attempt to cram as much left-wing politics into an implausible plot as possible.

53: Real Magic (Forced Entertainment) – Home Theatre, Manchester.

The same, short sketch repeated about 50 times. Bemusing for the first 5 mins, disastrous for the remaining 85. The only show this year I wanted to walk out of.

54: The Nest (National Institute for Health Research, The University of Manchester and Salford Royal NHS Foundation Trust) – 53Two, Manchester.

Was NHS money really spent on this instead of actual health care? Achieved nothing in terms of theatre or public education / awareness.

55: My Country (National Theatre) – Home Theatre, Manchester.

Let’s give a Brexit voice to the people – by using actors to put on fake regional accents. Sits at the bottom of the list because it came from the very top of the National Theatre’s management structures, and thus it sadly comes across as a horribly patronising attempt to justify the NT’s own existence.


Detailed scores

Theatre criticism and review tends to usually boil down to a star rating system, where the awarding of 5 stars is considered to be a sign of a very good show. Star ratings provide a convenient way to separate good from bad and allow reviewers to quickly and memorably communicate their concluding feelings on a show.

In an attempt to improve on this and provide a slightly more detailed breakdown of my evaluations, I have created a scoring system that gives more than a single score. It is a convention that is loosely based on the Capability Maturity Model Index (CMMI) – a system more usually employed to formally measure the efficacy and maturity of business processes and procedures in large companies.

In an attempt to create a scoring system that is more relevant to theatre, I have devised and then adhered to definitions that reward the impact of each performance aspect being measured.

Firstly, rather than give one overall score, I have decomposed “theatre” into the following five performance aspects, which together give a more precise breakdown of why a show is good or bad:

Performance aspect Definition
Visual pleasure Includes the set, any props, costumes, lighting
Auditory pleasure Includes spoken words, music, sound effects, singing
Architecture & Theme Quality of the story, the concept, the plot
Artistic delivery How well the actors / singers / dancers performed
Overall impact Emotional and mental impact of the performance

Furthermore, the individual scores attributed to each performance aspect are assigned according to the following definitions, where the usual CMMI management-speak terminology of describing good and bad business processes is replaced with an appropriate equivalent which is more suitable for the world of theatre and arts:

Score Standard CMMI “level” Theatrical equivalent
0 Negligent Detrimental – this aspect of the performance is so bad it makes the overall experience worse
1 Initial Weak – this aspect of the performance is poor
2 Repeatable Adequate – this aspect of the performance is perfectly acceptable, though nothing special
3 Defined Good – this aspect of the performance is above average, it pleases in some way
4 Managed Excellent – this aspect of the performance is much better than normal, it is impressive
5 Optimized Awe-inspiring – this aspect of the performance is exceptional, new boundaries are being pushed.

This scoring system offers some useful advantages over the usual habit of giving a single star rating:

  • the five performance aspects are separately assessed,  the final score (i.e. the star rating) is then simply the average of these five. Hence the impact of each of the five performance aspects can be seen separately, which is more meaningful than simply giving a single score.
  • the fixed scoring levels / definitions provide an absolute framework against which otherwise vastly differing performances and performing styles can be reliably evaluated against each other. This makes it possible to fairly compare e.g. a scripted stage play against a modern dance performance.
  • shows are less likely to achieve a final score (star rating) of 5, as this would require all five performance aspects to be judged as being “awe-inspiring”. Only two of the 2017 list below came close to achieving that feat.

Such a scoring system makes it easier to explain why a show is good, or bad. For example, it is possible for a performance to score well on “artistic delivery” but badly on “architecture and theme” i.e. the actors did the job very well but the plot was just boring, or unrealistic. This is something that is seen for many of the shows towards the lower end of the rankings table below, where it was never bad acting that led to the show being perceived unfavourably.

Note that the below end-of-year rankings are qualitative and reflect personal preferences and feelings – these performance have not simply been ranked by average score (i.e. star rating) in descending order. The list originally started that way but I then shifted individual items around slightly to reflect my summary feelings at the end of the year.

Going forward, in 2018 all theatre reviews published by The Greater Manchester Reviewer will make use of the above evaluation and scoring system, but for now here’s how the 2017 list stacks up …

Ranking Performance Performance aspect Average Score
Visual impact Auditory impact Architecture & concept Artistic delivery Emotional impact
1 We Are Ian 3 5 5 5 5 4.6
2 Birdie 5 5 5 3 5 4.6
3 Moore Bacon! 5 2 5 5 5 4.4
4 Hot Brown Honey 5 5 4 5 5 4.8
5 MK Ultra 4 5 5 5 5 4.8
6 Castle Rock 4 4 5 5 5 4.6
7 The Threepenny Opera 4 4 4 5 5 4.4
8 The Suppliant Women 4 5 4 4 5 4.4
9 The Weir 4 3 5 5 5 4.4
10 Letters to Windsor House 5 5 4 4 5 4.6
11 Tank 4 2 3 4 4 3.4
12 Jubilee 4 3 3 5 4 3.8
13 Charlie and the Bukowskies 3 3 2 4 4 3.2
14 Scorch 2 2 4 4 3 3.0
15 The Shawl 2 2 3 4 4 3.0
16 The Kite Runner 3 2 4 5 4 3.6
17 Persuasion 3 3 2 4 4 3.2
18 Good Grief 3 2 5 4 4 3.6
19 Uncle Vanya 3 2 2 4 4 3.0
20 Bears 3 2 3 3 4 3.0
21 The Marriage of Kim K 3 5 3 4 4 3.8
22 One 3 2 3 3 4 3.0
23 Jane Eyre 4 3 2 3 3 3.0
24 The Hound of the Baskervilles 3 3 3 3 4 3.2
25 Greyhounds 2 2 3 3 3 2.6
26 Leopard Murders 2 2 4 3 4 3.0
27 Gutted 4 2 4 3 4 3.4
28 Road 2 2 3 3 3 2.6
29 I Capture The Castle 3 4 2 4 3 3.2
30 Pippin 3 3 2 4 3 3.0
31 Man on the Moon 2 4 4 3 3 3.2
32 How My Light Is Spent 2 3 3 3 3 2.8
33 Cosmic Scallies 2 2 4 3 3 2.8
34 Returning to Reims 3 3 1 2 3 2.4
35 Edward Gant’s Amazing Feats Of Loneliness! 3 2 2 3 3 2.6
36 Rose 1 2 1 4 3 2.2
37 Freak 1 2 3 3 3 2.4
38 Our Town 3 3 3 3 3 3.0
39 A Grey Divide 2 2 3 3 3 2.6
40 The Believers Are But Brothers 3 2 2 3 3 2.6
41 Fatherland 3 3 3 4 3 3.2
42 Parliament Square 3 2 2 3 2 2.4
43 My Version of Events 1 1 3 3 3 2.2
44 Morale Is High (Since We Gave Up Hope) 2 3 1 3 2 2.2
45 The People Are Singing 2 3 3 3 3 2.8
46 Dirty Dancing 3 3 2 3 3 2.8
47 The Tenant of Wildfell Hall 2 1 2 2 1 1.6
48 Twelfth Night 2 1 2 2 1 1.6
49 Sister Act 3 3 1 4 1 2.4
50 Heads Up 1 1 1 3 1 1.4
51 Baardeman 1 1 1 2 1 1.2
52 Winter Hill 1 1 0 2 0 0.8
53 Real Magic 1 0 0 3 0 0.8
54 The Nest 1 1 1 2 0 1.0
55 My Country 2 2 0 3 0 1.4

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