The musical theme is heard throughout the film.

(meta data) TITLE: Filmtracks: Star Wars: Return of the Jedi (John Williams)

Composed, Conducted, and Co-Produced by:

1993, 1997, and 2004 Albums Produced by:

RCA Re-Recording Produced and Conducted by:

RCA Victor (Gerhardt)(1989)20th Century Fox (Anthology)(November 9th, 1993)RCA Victor (Special Edition)(January 14th, 1997)RCA Victor (S.E. Re-Pressing)(August 26th, 1997)Sony Classical (Individual and Set)(September 21st, 2004)Sony Classical (Corellian Edition)(October 2nd, 2007)Sony Classical (30th Ann. Edition)(November 6th, 2007)

All of the CD albums were regular commercial releases at

Both the original 1986 album and 1989 RCA Gerhardt album

historically have been available used for about $5 to $7.

The 1993 Fox Anthology was believed at the time to be the most

collectible soundtrack CD set in existence, and has retained its

original street value because of its relative scarcity and

The 1997 RCA Special Edition albums came in two forms, the black booklet

format available early that year and the slimline format in August,

1997 to coincide with the VHS release of the revised films

albums (with poster art on the covers) have fallen completely out of

print, and while new copies of the 'black book' formatted RCA albums of

early 1997 are also difficult to find, they have remained readily available

for sub-retail price on the used market.

The 2004 Sony Classical products are bargain priced, though you receive

no additional packaging benefits from buying the trilogy as a set outside

The 2007 Sony Classical albums contain no additional new contents or remastering.

The "Corellian Edition" compilation, which was leaked as a promotional teaser

in some 2005 pressings of Star Wars: Revenge of the Sith, is sold alone as

a regular commercial release (with two different cover art variants) and is included

as CD7 in the concurrently offered "30th Anniverary Collector's Edition."

featuring original LP packaging, was electronically numbered up to 10,000 copies and

Its value soon plunged, in part due to production problems

that caused the wrong combination of CDs to be included in the set.

temporarily pulled the product due to complaints.

Nominated for an Academy Award and a Grammy Award.

•The Empire Strikes Back•The Phantom Menace•Attack of the Clones•Revenge of the Sith•E.T. The Extra-Terrestrial•Raiders of the Lost Ark

Availability | Awards | Viewer Ratings |

Buy it... on the 1997 "Special Edition" albums over all others

because they feature the best combination of outstanding packaging and a

nearly complete presentation of John Williams' slightly diminished but

Avoid it... on the 1985 to 1993 albums because of poorer, archival

sound quality and incomplete presentations, as well as the 2004 and 2007

re-pressings that are identical to the 1997 albums in contents but

Star Wars: Return of the Jedi: (John Williams) The

tagline "The Saga Continues" meant only one thing in the early 1980's:

hysteria over George Lucas' franchise of Star Wars films.

1983's Star Wars: Return of the Jedi, the phenomenon had

saturated the mainstream with a seemingly unlimited quantity of toys and

poster, featuring the production title of "Revenge of the Jedi" and

intriguingly swapping the colors of lightsabers in its depiction of the

famous duel from The Empire Strikes Back, became a wildly hot one

While some of the problems that Lucas faced

with the production of The Empire Strikes Back had been

alleviated by his departure from industry unions as a method of

maintaining more control over his movies, Return of the Jedi

suffered as a result, its costs driven up because of that independence.

More than half of its $32 million budget was consumed by the special effects

work of Industrial Light & Magic, the screen wizards' time booked to

capacity to meet the ever-increasing demands of the saga's plotline.

Although relatively few new worlds were developed for Return of the

Jedi, the immense scope of the battle sequences in its latter half

(aided by the invention of THX sound technology) drove the spectacle to

Much disagreement during the script's finalization about

the fate of several major characters eventually succumbed to Lucas' wish

for a purely happy ending to the trilogy.

the Rebel Alliance and Galactic Empire in Return of the Jedi

follows the resolution of the events of The Empire Strikes Back,

a second Death Star again requiring the rebels to attack.

with the evil Emperor on the battle station, Luke Skywalker risks his

own destruction by willingly engaging with Darth Vader and Emperor to

bring the former back from the "dark side" of the Force.

subsequent re-releases of the film, Lucas stirred controversy by

tinkering repeatedly with Return of the Jedi, eventually adding

scenes and characters from the prequel trilogy to neatly wrap up the

film marginally passed The Empire Strikes Back in gross profits

but failed to garner the same astonishing, record-setting success in

audiences' and critics' books as its predecessors.

universally considered the weakest of the three original Star

Wars films, despite being very entertaining and necessarily

For most enthusiasts of the Star Wars universe, the

series never got better than The Empire Strikes Back, and the

same argument could be made about John Williams' music for the

By the time Return of the Jedi opened in theatres in

1983, seven out of the top ten grossing films of all time featured a

Williams score, and his conducting work with the Boston Pops had

increased his mainstream visibility even further.

world once again with The Empire Strikes Back, Williams had

written the classics Raiders of the Lost Ark and E.T. The

-Terrestrial in successive years, the latter earning the

significant challenge by producing a score for the first Star

Wars sequel that eclipsed the original classic; if the standard of

excellence for Return of the Jedi were to have been raised any

higher, then Williams would have had no choice but to conjure the

greatest score ever written for Hollywood.

that Williams accomplished this feat, but at the very least, the maestro

maintained a level of outstanding quality for Return of the Jedi

that many listeners still consider superior to any of the prequel scores

London Symphony Orchestra and the same crew, Williams pumped out a score

even longer than The Empire Strikes Back, with more material

eventually released on album than the total length of the film.

lingering note of dissatisfaction about Return of the Jedi has

always involved its restricted sound quality, which, despite

improvements industry wide by the 1980's, has always suffered from a

dull soundscape that defied those technological advances (this flaw is

especially noticeable in the cue "Into the Trap"). Nevertheless, if you

allow yourself to become enveloped in the score's four new themes, the

interpolation of the previous themes, and the usual excellent standard

, then the merits of the score's ideas will easily

counter such quibbles for most listeners.

logistical nightmare of attempting to weave more than ten major themes

together into one score, the immense length of the recording is not much

Some might argue, though, that Return of the Jedi

is a more cluttered and less focused overall product than the others in

The score has the disadvantage of lacking a

singular thematic identity that was able to become the kind of

powerhouse to rival the title theme and "Imperial March," a reality made

Among the new thematic ideas are Jabba the Hutt's

surprisingly jovial tuba piece (playing along the politically incorrect

lines of belching tubas representing fatness), an equally cute and

percussively creative theme for the Ewoks, an identity for Luke and

Leia's changing familial understanding, and finally a demonic

Ewok and Luke & Leia themes were the ones that you'd hear most often in

Also arranged for easy public consumption were the "Sail Barge

Assault" and "Forest Battle" cues (as well the occasional Jabba the Hutt

Williams' emphasis on the two aforementioned themes is

clearly defined more specifically by their appearance in the end credits

Williams' earlier quality, neither addition was as attractive to the

Leia is similar in pleasant atmosphere and instrumentation to the

Princess and Han Solo themes from the previous films, weaving in pieces

of those ideas in auxiliary performances but understandably never

surprisingly the least palatable idea in the score, becoming downright

irritating for some listeners with its frenetic energy and perkiness.

Attached to it are the native-like source drum cues associated with the

little Wookie stand-ins, and these appropriately primitive contributions

resemble little of Williams' other motifs for the trilogy.

interesting aspect of all these themes is that the other two lesser

ideas eventually proved to have the far better shelf life, both the

themes for the Emperor and Jabba the Hutt jumping immediately to the

prequel trilogy (and the former theme quite extensively).

best choice Williams made in regards to Return of the Jedi was

the extensive development afforded to the major identities from the

The "Imperial March" still commands a significant presence,

expressed in massive statements involving the two Death Star arrival

scenes and reinventing itself in a whimper during Darth Vader's demise.

The infamous march for the Empire once again steals the show, most

obviously in the ambitious full statement during the Emperor's special

effects-driven landing upon the Death Star.

conflict within Vader's character allowed Williams the opportunity to

experiment with softer, less bombastic representations of the theme that

would remain confined to Return of the Jedi and in hints during

Its final powerful statement in this trilogy is a

remarkable fragment during the height of "Into the Trap.

"Also resurrected in Return of the Jedi from the

previous scores are the ideas for "Han Solo and the Princess" (in their

long-awaited reunion at Jabba's palace and the revelation at the

conclusion of the battle of Endor), Princess Leia's theme from the

original film (dramatically as she is wounded), and Yoda's tender and

thoughtful melody (for his revelatory death scene).

the theme for the Force makes two extremely prominent appearances (among

others) in the film, first at the moment of contemplation about the

"dark side" when Luke defeats Vader in the final duel and secondly with

grand and somber beauty during the funeral pyre for Vader at the end

(nicely bringing the theme back full circle to the burning of Luke's

overarching demeanor of the music in Return of the Jedi and

individual moments of interest merit some attention as well.

intangible detraction from Williams' work here is the lack of the

weighty drama that was heard in The Empire Strikes Back

previous score's desperation, built into its constant rhythmic movement,

does not transfer to the third score, probably because the situation in

Return of the Jedi is less dire in a romantic sense.

general characteristic of the score is its capacity for chaos above and

Williams was forced to jump around significantly

within cues during the film's last 30 minutes because of the juxtaposed

battle sequences happening simultaneously in the story.

was used extensively again by Lucas in The Phantom Menace, and in

both cases the constant shifts caused the music to sound artificially

cut in places (which it really was in some places), harming the

narrative flow so vital in the first two scores of the franchise.

final observation about Return of the Jedi is both a positive and

negative, and it involves the fact that the score has significantly more

"singular" cues, whether it involves background source music, outright

Unlike the contained "Cantina Band" scene in the

first film, Return of the Jedi applies source-like songs or

primordial music in Jabba's palace and in the forest with the Ewoks.

both cases, this material conflicts with the orchestral music

"Lapti Nek" and its subsequent replacement song for the

Special Edition are both curious but insufferable, and the Ewok feast

source music serves only to slow the pace of the score in and apart from

In fact, the film's badly dragging Ewok feast and storytelling

sections owe some of their dull appeal to the basic thumping of

It is perhaps no coincidence that the two major

non-orchestral cues in Return of the Jedi were both replaced for

the Special Edition release of the film in 1997.

material actually got worse, the groovy celebration music is now less

specific to the Ewoks than the original so that it could generally cover

scenes of rowdy crowds on Bespin, Tatooine, and Coruscant.

celebration music fits well with the similarly conceived cue at the end

method of providing party music, but the sound quality is far too rich

here for the end credits suite that follows.

between them makes for an uncomfortable ending for the revised film as

On the upside, though, are a number of singular cues of

The ensemble bravado of the major action scenes in

A New Hope is revisited in "Sail Barge Assault," "The Fleet

Enters Hyperspace," and "The Main Reactor," each of those cues worthy of

continued appreciation on the complete album presentations

hidden nugget in Return of the Jedi is Williams' "death motif,"

heard with somber nobility in "The Death of Yoda" but developed with far

more interesting consequences in "The Dark Side Beckons."

cue, the theme is chillingly expressed by the deep adult chorus from the

Emperor's theme during the reigniting of the final duel sequence between

One has to wonder why Williams didn't utilize this theme

for Anakin's last duel with Obi-Wan Kenobi in Revenge of the Sith

to finish off the trilogies with similar thematic bookends, especially

given how incredibly powerful its impact is on that one scene in

Another questionable decision by Williams

along those same lines is the lack of some sort of reprise of the

"Throne Room" identity for the Rebel Alliance when it proves victorious;

in fact, it could have informed the conclusion of "The Main Reactor"

just as well as the brassy expressions of glee and relief as the last

rebel ships exit the exploding Death Star.

Jedi is an outstanding score on its own despite the flaws that any

collector of the franchise's music will find in it.

to write one major overarching melodic identity for the film and his

continued fragmentation as he attempted to address so many ideas on a

limited canvas was a recipe for disappointment.

linger as well, the strings often deemphasized to the point of

ineffectiveness in the mix of certain cues.

expectations, Williams did about as well as one could hope, and there

are enough brilliantly addressed sequences (especially in the reprises

of established themes) to warrant the highest rating for this final

Extremely tough competition in 1983 made it no surprise

when the score for Return of the Jedi failed to capitalize on its

Its diminished stature carried over to its original

information about the history of the soundtrack for Return of the

Jedi on album applies once again, but with a continuing twist in the

By 1983, the future of LPs was in doubt and the technology

was first breaking into commercial markets.

viability of an LP release questionable at best, the original album was

restrained to only a single record in length

the Jedi is longer than the other two scores in the classic trilogy,

this presentation caused an immediate and crushing shortage of music

Return of the Jedi on album, with the eventual stream of CD

offerings proving that every time you think you've purchased the

definitive and final version of this score (and the others from

the classic trilogy), you can wait a few years and be treated to yet

music from the classic Star Wars scores is taken for granted

today, the first fifteen years were quite lean for fans of the composer

In fact, it would take a full twenty years before the

entire finished products (with nearly every available cue released)

finally reached fans in time for the Special Editions in theatres.

of the information that follows in regards to each of the various

releases of the music is relevant to not only this score, but the others

in the classic trilogy as well, so you'll read very similar accounts in

releases on LP records and their early CDs, the editions of the scores

on subsequent discs have always been released as a trilogy, despite your

ability to usually buy them separately upon each update of all three.

carbon copy of the Return of the Jedi LP was translated onto the

score's debut CD in 1986 at the same time as A New Hope (whereas

The Empire Strikes Back had already been available on an

inexplicably shortened CD for over a year).

sound quality that prevailed on that LP is also a painful hindrance on

the Polydor CD, making it an extremely frustrating 45-minute listening

experience even aside from the wealth of music missing from the product.

As they had done with both Star Wars and The Empire Strikes

Back, aficionados of the series once again searched for comfort in

the only other recording of music from the series: Charles Gerhardt and

The only substantial alternative source of music from

this score (and the others in the saga before 1993) was the Gerhardt

re-recording of 46 minutes of the score with the NPO.

Gerhardt and the NPO had recorded famous film scores from mostly the

Golden Age of Hollywood, but as a few of their final collaborations,

they recorded the three classic Star Wars scores near the times

In fact, Return of the Jedi turned out to be

very final entry in this magnificent series.

New Hope and Return of the Jedi were both released in 1989 by

RCA, with superb sound quality and an usually excellent standard of

performance that Williams himself had claimed to be honored by

brass section did make some noticeable mistakes in this performance,

although it's compensated for by a rousing instrumental version of the

the only digital source for some cues absent from the official 1986

release, including Williams' extended concert arrangement of Jabba the

Hutt's theme (with strikingly whimsical strings) and the presentation of

"Fight in the Dungeon" as an extra bonus.

tracks, only one fifth of the total music from Return of the Jedi

ultimate Star Wars trilogy Anthology released by 20th Century Fox

in 1993 was considered a godsend by fans.

103 minutes of music from the film, including several vital cues from

the middle section of the story that had been completely neglected by

While the addition of material from Return of the

Jedi was significant, it was not as earth-shatteringly important as

the Anthology had been for The Empire Strikes Back.

the Anthology (produced by some of the biggest names in film score

production) featured additional music that was certainly welcomed with

There were, however, problems with the presentation

despite the best intentions of those producers

placed as much music as possible from each film on an individual CD for

each of the three scores but then pressed additional unreleased cues on

memorable "Leia is Wounded/Luke and Vader Duel" and lengthy "Brother and

Sister/Father and Son/The Fleet Enters Hyperspace" you had to seek the

fourth CD to enjoy them separately in the era prior to the digitization

Add on a large, custom-sized package (roughly DVD set

size by today's standards) and hard-to-read individual CD covers within,

and you had some ill-received protests from some fans.

Regardless of its issues, the Anthology set of 1993 is

looked upon with fondness by many Star Wars fans today simply

because it filled a major void in collections at the time.

later, however, the Anthology was rendered largely outdated by the

massive, highly advertised RCA "Special Edition" releases of 1997.

January of that year, George Lucas had announced the production of

The Phantom Menace and revealed newly enhanced versions of the

original three films for a 20th anniversary theatrical release.

album, enthusiasts were treated to double-CD releases of each Star

Wars score in film order with alternative cues and extensive

attention to detail in the mixing and arrangement of the contents.

Including several source and alternate cues, a whopping total of 148

minutes of music from Return of the Jedi on its Special Edition

the previous two scores, there still remains 15 to 20 minutes of music

from Return of the Jedi that is not heard on even the most

Most of that music, however, is not vital (or

was previously released elsewhere), and a list of that material can be

both the 1993 and 1997 releases, with the glittery CDs of the latter

and offered in slimline alternatives that feature the Special Edition

poster art, but these fell out of print about five years later.

the Sony Classical label, which had been releasing the prequel scores,

acquired the rights to the classic trilogy's music and decided to

-press the 1997 releases with new artwork.

Sony's Direct Stream Digital remastering, and while this technique does

provide some minimal extra clarity on high-end stereo systems, casual

listeners will notice no significant differences from the 1997 albums.

Thus, if you own the Special Edition albums and don't require slightly

improved sound, there is no reason to seek the 2004 ones.

2004 re-pressings are badly lacking in packaging compared to previous

releases, with absolutely none of the fantastic notes and pictorials

shameless 2007 releases (the "Corellian Edition" compilation and "30th

Anniverary Collector's Edition"), both of which redundant, unnecessary, and

Overall, owning Return of the Jedi is perhaps

not as necessary in a very casual soundtrack collection when contrasted

against its siblings in the classic trilogy

film music enthusiast, it is a must-have score, and with its outstanding

packaging and mostly complete presentation of the music, the 1997

Special Edition album (the original full version bound in black

booklets) continues to be the best Return of the Jedi product

Music as Heard on the 1986 Polydor Album: *

Music as Heard on the 1989 RCA Gerhardt Album: ****

Music as Heard on the 1993 Fox Anthology: ****

Music as Heard on the 1997 RCA Special Edition: *****

Music as Heard on the 2004 Sony Classical Album: ****

Music as Heard on the 2007 Sony Classical Albums: **

For John Williams reviews at Filmtracks, the average editorial rating is 3.78

Older Editions of the score have BETTER sound quality, not WORSE.

Expand >>Faleel - September 11, 2012, at 4:37 p.m.

3 comments (2703 views)Newest: July 7, 2015, at 9:14 p.m. by Mr. Big

Using tubas to represent fatness Expand >>Lawrence Yang - October 6, 2011, at 7:50 a.m.

2 comments (2926 views)Newest: April 8, 2012, at 2:50 p.m. by cs^tbl

Unknown track Expand >>sam - May 6, 2007, at 3:26 p.m.

3 comments (5777 views)Newest: October 12, 2008, at 6:53 p.m. by avcastner

Although not as good as other SW scores,still worthy to listen Expand >>Sheridan - August 20, 2006, at 4:56 a.m.

3 comments (4907 views)Newest: July 18, 2006, at 7:48 a.m. by Don

The Emperor's Theme Expand >>Abel - March 25, 2006, at 1:30 p.m.

2 comments (5279 views)Newest: October 12, 2008, at 7:05 p.m. by avcastner

CD3, 2. Approaching the Death Star (0:30)

CD4, 3. The Fleet Goes into Hyperspace (0:32)

1986 Polydor Album Tracks ▼Total Time: 45:37

• 1. Main Title (The Main Story Continues) (5:09)

• 5. Han Salo Returns (at the Court of Jabba the Hutt) (4:07)

• 6. Lapti Nek (by Jabba's Palace Band) (2:48)

• 11. Ewok Celebration and Finale (7:57)

1989 RCA Gerhardt Album Tracks ▼Total Time: 46:25

• 1. Main Title/Approaching the Death Star (3:27)

• 8. Into the Trap/Fight in the Dungeon (4:20)

1993 Fox Anthology Album Tracks ▼Total Time: 103:11

• 1. Twentieth Century Fox Fanfare with CinemaScope Extension*** (0:22)

• 2. Main Title/Approaching the Death Star (5:18)

• 3. Han Solo Returns (at the Court of Jabba the Hutt) (4:06)

• 10. The Emperor Confronts Luke** (3:26)

• 12. First Ewok Battle/Fight with the Fighters** (7:18)

• 14. Final Duel/Into the Death Star** (3:37)

• 18. Leia Breaks the News/Funeral Pyre for a Jedi (2:19)

CD4: (74:59, 28:26 from Return of the Jedi)

• 2. Star Wars: Main Title (Alternate)** (2:16)

• 3. Return of the Jedi: Heroic Ewok/The Fleet Goes into Hyperspace** (3:05)

• 4. Star Wars: A Hive of Villainy** (2:12)

• 5. Star Wars: Destruction of Alderaan** (1:31)

• 6. The Empire Strikes Back: Drawing the Battle Lines/Leia's Instructions** (

• 7. Return of the Jedi: The Ewok Battle** (2:48)

• 8. The Empire Strikes Back: Attack Position** (3:04)

• 9. The Empire Strikes Back: Crash Landing** (3:35)

• 11. Return of the Jedi: Lapti Nek (2:48)

• 12. Star Wars: Cantina Band #2** (3:44)

• 13. Return of the Jedi: Faking the Code** (4:10)

• 14. Return of the Jedi: Brother and Sister** (3:08)

• 16. Return of the Jedi: Leia is Wounded/Luke and Vader Duel** (2:57)

• 17. The Empire Strikes Back: Carbon Freeze/Luke Pursues the Captives/Departure of Boba Fett* (11:08)

• 18. The Empire Strikes Back: Losing a Hand** (5:20)

• 19. Return of the Jedi: The Return of the Jedi (Alternate)** (5:03)

• 20. Return of the Jedi: Leia Breaks the news (Alternate)/Funeral Pyre for a Jedi (Film Version)* (2:27)

• 21. Return of the Jedi: Ewok Celebration (Film Version)/The Empire Strikes Back: End Credits (Film Version)* (6:22)

* Contains previously unreleased material

1997 RCA Special Edition Tracks ▼Total Time: 148:01

• 1. 20th Century Fox Fanfare (Alfred Newman, 1954) (0:22)

• 2. Main Title/Approaching the Death Star/Tatooine Rendezvous* (9:21)

• 6. Luke Confronts Jabba*/Den of the Rancor/Sarlacc Sentence* (8:51)

• 7. The Pit of Carkoon*/Sail Barge Assault (6:02)

• 8. The Emperor Arrives/The Death of Yoda/Obi-Wan's Revelation* (10:58)

• 10. Shuttle Tydirium Approaches Endor (4:09)

• 11. Speeder Bike Chase*/Land of the Ewoks* (9:38)

• 12. The Levitation*/Threepio's Bedtime Story* (2:46)

• 15. Sail Barge Assault (Alternate) (5:04)

• 3. Brother and Sister/Father and Son*/The Fleet Enters Hyperspace**/Heroic Ewok (10:40)

(Into the Trap/Forest Ambush*/Scout Walker Scramble/Prime Weapon Fires)

• 6. The Lightsaber*#/The Ewok Battle (4:31)

(Leia is Wounded/The Duel Begins/Overtaking the Bunker*/The Dark Side Beckons/The Emperor's Death)

(Superstructure Chase*/Darth Vader's Death/The Main Reactor)

• 9. Leia's News/Light of the Force*** (3:24)

• 10. Victory Celebration*$/End Title (8:34)

• 11. Ewok Feast*/Part of the Tribe* (4:02)

• 12. The Forest Battle (concert suite) (4:05)

*** Alternate recording for "Light of the Force"

# Contains partial film version of "The Emperor Arrives"

$ Composed and Recorded by Williams in 1996 for the Special Edition

@ Composed and Arranged by Jerry Hey in 1996 to replace "Lapti Nek"

2004 Sony Classical Album Tracks ▼Total Time: 148:01

• 1. 20th Century Fox Fanfare (Alfred Newman, 1954) (0:22)

• 2. Main Title/Approaching the Death Star/Tatooine Rendezvous (9:21)

• 6. Luke Confronts Jabba/Den of the Rancor/Sarlacc Sentence (8:51)

• 7. The Pit of Carkoon/Sail Barge Assault (6:02)

• 8. The Emperor Arrives/The Death of Yoda/

• 10. Shuttle Tydirium Approaches Endor (4:09)

• 11. Speeder Bike Chase/Land of the Ewoks (9:38)

• 12. The Levitation/Threepio's Bedtime Story (2:46)

• 15. Sail Barge Assault (Alternate) (5:04)

• 3. Brother and Sister/Father and Son/The Fleet Enters Hyperspace/Heroic Ewok (10:40)

(Into the Trap/Forest Ambush/Scout Walker Scramble/Prime Weapon Fires)

• 6. The Lightsaber/The Ewok Battle (4:31)

(Leia is Wounded/The Duel Begins/Overtaking the Bunker/The Dark Side Beckons/The Emperor's Death)

(Superstructure Chase/Darth Vader's Death/The Main Reactor)

• 9. Leia's News/Light of the Force (3:24)

• 10. Victory Celebration/End Title (8:34)

• 11. Ewok Feast/Part of the Tribe (4:02)

• 12. The Forest Battle (concert suite) (4:05)

2007 Sony Corellian Edition Tracks ▼Total Time: 54:57

• 1. The Phantom Menace: Star Wars Main Title and The Arrival at Naboo (2:56)

• 2. The Phantom Menace: The Flag Parade (2:12)

• 3. The Phantom Menace: Qui-Gon's Noble End (3:48)

• 4. Attack of the Clones: Jango's Escape (3:49)

• 5. Attack of the Clones: Yoda and the Younglings (3:57)

• 6. Revenge of the Sith: General Grievous (4:07)

• 7. Revenge of the Sith: Anakin's Dark Deeds (4:05)

• 9. A New Hope: Ben Kenobi's Death/TIE Fighter Attack (3:55)

• 10. The Empire Strikes Back: Yoda and the Force (4:06)

• 11. The Empire Strikes Back: The Clash of Lightsabers (4:10)

• 12. Return of the Jedi: Sail Barge Assault (5:05)

• 13. Return of the Jedi: End Title (6:04)

2007 Sony 30th Ann. Edition Tracks ▼Total Time: 148:00

• 1. 20th Century Fox Fanfare (Alfred Newman, 1954) (0:22)

• 2. Main Title/Approaching the Death Star/Tatooine Rendezvous (9:21)

• 6. Luke Confronts Jabba/Den of the Rancor/Sarlacc Sentence (8:51)

• 7. The Pit of Carkoon/Sail Barge Assault (6:02)

• 8. The Emperor Arrives/The Death of Yoda/

• 10. Shuttle Tydirium Approaches Endor (4:09)

• 11. Speeder Bike Chase/Land of the Ewoks (9:38)

• 12. The Levitation/Threepio's Bedtime Story (2:46)

• 15. Sail Barge Assault (Alternate) (5:04)

(Into the Trap/Forest Ambush/Scout Walker Scramble/Prime Weapon Fires)

• 6. The Lightsaber/The Ewok Battle (4:31)

(Superstructure Chase/Darth Vader's Death/The Main Reactor)

• 9. Leia's News/Light of the Force (3:24)

• 10. Victory Celebration/End Title (8:34)

• 11. Ewok Feast/Part of the Tribe (4:02)

• 12. The Forest Battle (Concert Suite) (4:05)

CD7: (54:57, 11:09 from Return of the Jedi)

• 2. The Phantom Menace: The Flag Parade (2:12)

• 3. The Phantom Menace: Qui-Gon's Noble End (3:48)

• 4. Attack of the Clones: Jango's Escape (3:49)

• 5. Attack of the Clones: Yoda and the Younglings (3:57)

• 6. Revenge of the Sith: General Grievous (4:07)

• 7. Revenge of the Sith: Anakin's Dark Deeds (4:05)

• 9. A New Hope: Ben Kenobi's Death/TIE Fighter Attack (3:55)

• 10. The Empire Strikes Back: Yoda and the Force (4:06)

• 11. The Empire Strikes Back: The Clash of Lightsabers (4:10)

• 12. Return of the Jedi: Sail Barge Assault (5:05)

• 13. Return of the Jedi: End Title (6:04)

(total time only reflects unique material from Return of the Jedi)

The 1986 Polydor and 1989 RCA Gerhardt albums contain no

information about the film, score, or recording.

has extensive notes and pictorials in an oversized booklet with

information written by John Williams, Nicholas Meyer, and Lukas Kendall.

The 1997 RCA Special Edition albums with the black book format include

extensive notation from album arranger Michael Matessino regarding the

Wars in this 1997 album also includes information about each take.

The 1997 RCA Special Edition slimline format lacks the same level of

detail. The 2004 Sony Classical products (available both as a set and

individually) include a fold-out poster, but sadly no extra information

"Corellian Edition" is minimal, though the label's "30th Anniversary

Collector's Edition" includes the original LP packaging for each score

and a bonus CD-ROM with additional material.

notes about the scores are once again missing from the 2007 products.

Music from Return of the Jedi not contained on 1997, 2004, or 2007 albums:

• Lapti Nek (English Version, "Fancy Man") (2:46)

• Ewok Celebration (Film Version)* (1:56)

• Ewok Celebration (Album Version)* (1:56)

• Jabba the Hutt (Concert Arrangement)** (

• Max Rebo Band Instrumental Music*** (3:00)

• Unused Source Music (Not in Film)*** (1:30)

* Cue is included on the 1993 Anthology set

** About (1:20) of this recording was tracked into "Han Solo Returns" on the 1986 album and 1993 Anthology.

*** These selections were not included because they could not be found.

error, some copies of the 1997 RCA release may have two "Disc 1"s and

If you are purchasing one of the remaining new copies of

them now, be sure to check your set immediately to make sure you

The same problem reportedly existed with

some copies of the 2007 "30th Anniversary Collector's Edition."

Tony Cox, who also played an Ewok, would assist as well. The eyes and facial expressions were operated by radio control.
 Lucas voiced displeasure in the puppet's appearance and immobility, complaining that the puppet had to be moved around the set to film different scenes. In the DVD commentary to the Special Edition of "Return of the Jedi", Lucas notes that if the technology had been available in 1983, Jabba the Hutt would have been a CGI character similar to the one that appears in the Special Edition scene of "A New Hope".
 Jabba the Hutt only speaks Huttese on film, but his lines are subtitled in English. His voice and Huttese-language dialogue were performed by voice actor Larry Ward, whose work is not listed in the end credits. A heavy, booming quality was given to Ward's voice by pitching it an octave lower than normal and processing it through a subharmonic generator. A soundtrack of wet, slimy sound effects was recorded to accompany the movement of the puppet's limbs and mouth. Jabba the Hutt's musical theme is played on a tuba. The musical theme is composed by John Williams.


He served as auxiliary bishop of the Roman Catholic Diocese of Butuan, Philippines.

(meta data) TITLE: Diocese of Pagadian, Philippines

BishopsYoungest BishopsOldest BishopsRetiring BishopsAge ≥75Age

. John LateranSt. Peter in the VaticanSt. Paul Outside-the-WallsSt. Mary MajorChurches by NameChurches by

By LanguageBy NameBy TagEucharistLiturgyMarriageMaryPriestSocial...By

Statistics: 24 parishes, 1 mission, 51 priests (41 diocesan, 10 religious), 73 lay religious (17 brothers, 56 sisters), 41 seminarians (2015)

Neighbouring Dioceses: Ipil (←), Dipolog (↑), Ozamis (↗), Iligan (→)

1971.11.12: Established as Diocese of Pagadian / Pagadianen(sis) (Latin) (from Metropolitan Archdiocese of Zamboanga)1995.01.01: Gained territory from Territorial Prelature of Ipil

Cathedral: Santa Niño Cathedral, Pagadian City, Zamboanga del Sur, Zamboanga Peninsula

Bishop (2018.11.22 – ...):Bishop Ronaldo Ignacio Lunas (52)

Bishop Ronaldo Ignacio Lunas (52) (2018.11.22 – ...)

Bishop of Pagadian (Philippines) (2018.11.22 – ...)

Bishop Emmanuel Treveno Cabajar, C.SS.R. (76) (2004.05.14 – 2018.11.22)

Bishop emeritus of Pagadian (Philippines)

Bishop of Pagadian (Philippines) (2004.05.14 – 2018.11.22)

Bishop Zacharias Cenita Jimenez (1994.12.02 – 2003.06.11)

Bishop of Pagadian (Philippines) (1994.12.02 – 2003.06.11)

Auxiliary Bishop of Butuan (Philippines) (2003.06.11 – 2009.05.07)

Bishop Antonio Realubin Tobias (78) (1984.09.14 – 1993.05.28)

Bishop emeritus of Novaliches (Philippines)

Titular Bishop of Tipasa in Numidia (1982.11.03 – 1984.09.14)

Auxiliary Bishop of Zamboanga (Philippines) (1982.11.03 – 1984.09.14)

Bishop of Pagadian (Philippines) (1984.09.14 – 1993.05.28)

Bishop of San Fernando de La Union (Philippines) (1993.05.28 – 2003.11.25)

Apostolic Administrator sede plena of Novaliches (Philippines) (2003.06.21

Bishop of Novaliches (Philippines) (2003.11.25 – 2019.06.06)

Bishop Jesus Balaso Tuquib (later Archbishop) (1973.02.24 – 1984.03.31)

Bishop of Pagadian (Philippines) (1973.02.24 – 1984.03.31)

Coadjutor Archbishop of Cagayan de Oro (Philippines) (1984.03.31 – 1988.01.05)

Metropolitan Archbishop of Cagayan de Oro (Philippines) (1988.01.05 – 2006.03.04)

Born in 5 November 1947 in Inabanga, Bohol in the Philippines, Jimenez was ordained to the priesthood in 17 April 1973 at the St. Joseph's Cathedral in Tagbilaran. He was consecrated as bishop in 6 January 1995 at the St. Peter's Basilica in the Vatican City. He served as bishop of the Roman Catholic Diocese of Pagadian, Philippines, from 2 December 1994 to 11 June 2003.


He served as titular bishop of "Arba" from 11 June 2003 until his death.

(meta data) TITLE: Diocese of Pagadian, Philippines

BishopsYoungest BishopsOldest BishopsRetiring BishopsAge ≥75Age

. John LateranSt. Peter in the VaticanSt. Paul Outside-the-WallsSt. Mary MajorChurches by NameChurches by

By LanguageBy NameBy TagEucharistLiturgyMarriageMaryPriestSocial...By

Statistics: 24 parishes, 1 mission, 51 priests (41 diocesan, 10 religious), 73 lay religious (17 brothers, 56 sisters), 41 seminarians (2015)

Neighbouring Dioceses: Ipil (←), Dipolog (↑), Ozamis (↗), Iligan (→)

1971.11.12: Established as Diocese of Pagadian / Pagadianen(sis) (Latin) (from Metropolitan Archdiocese of Zamboanga)1995.01.01: Gained territory from Territorial Prelature of Ipil

Cathedral: Santa Niño Cathedral, Pagadian City, Zamboanga del Sur, Zamboanga Peninsula

Bishop (2018.11.22 – ...):Bishop Ronaldo Ignacio Lunas (52)

Bishop Ronaldo Ignacio Lunas (52) (2018.11.22 – ...)

Bishop of Pagadian (Philippines) (2018.11.22 – ...)

Bishop Emmanuel Treveno Cabajar, C.SS.R. (76) (2004.05.14 – 2018.11.22)

Bishop emeritus of Pagadian (Philippines)

Bishop of Pagadian (Philippines) (2004.05.14 – 2018.11.22)

Bishop Zacharias Cenita Jimenez (1994.12.02 – 2003.06.11)

Bishop of Pagadian (Philippines) (1994.12.02 – 2003.06.11)

Auxiliary Bishop of Butuan (Philippines) (2003.06.11 – 2009.05.07)

Bishop Antonio Realubin Tobias (78) (1984.09.14 – 1993.05.28)

Bishop emeritus of Novaliches (Philippines)

Titular Bishop of Tipasa in Numidia (1982.11.03 – 1984.09.14)

Auxiliary Bishop of Zamboanga (Philippines) (1982.11.03 – 1984.09.14)

Bishop of Pagadian (Philippines) (1984.09.14 – 1993.05.28)

Bishop of San Fernando de La Union (Philippines) (1993.05.28 – 2003.11.25)

Apostolic Administrator sede plena of Novaliches (Philippines) (2003.06.21

Bishop of Novaliches (Philippines) (2003.11.25 – 2019.06.06)

Bishop Jesus Balaso Tuquib (later Archbishop) (1973.02.24 – 1984.03.31)

Bishop of Pagadian (Philippines) (1973.02.24 – 1984.03.31)

Coadjutor Archbishop of Cagayan de Oro (Philippines) (1984.03.31 – 1988.01.05)

Metropolitan Archbishop of Cagayan de Oro (Philippines) (1988.01.05 – 2006.03.04)

Born in 5 November 1947 in Inabanga, Bohol in the Philippines, Jimenez was ordained to the priesthood in 17 April 1973 at the St. Joseph's Cathedral in Tagbilaran. He was consecrated as bishop in 6 January 1995 at the St. Peter's Basilica in the Vatican City. He served as bishop of the Roman Catholic Diocese of Pagadian, Philippines, from 2 December 1994 to 11 June 2003. He served as auxiliary bishop of the Roman Catholic Diocese of Butuan, Philippines.


The host along with the top eight teams in the world ranking received automatic berths into the Olympics.

Click here for the ice hockey websites of the most recent Olympic Winter Games:

For the 2022 Olympic men's ice hockey tournament the top-8 nations of the 2019 IIHF Men's World Ranking will be automatically qualified and together with host China and the three qualifiers be seeded according to the 2020 IIHF Men's World Ranking.

The three qualifiers will be determined in four stages of the Olympic Qualification starting in the 2019/2020 season according to the schematic below.

The 2022 Olympic men's ice hockey tournament will be played according to the same format used in PyeongChang 2018, Sochi 2014 and Vancouver 2010 with three groups of four teams each.

The best four teams from an overall 12-team ranking – the group winners and the second-ranked team with the best record – will advance to the quarter-finals while the other teams will play a qualification playoff game.

Olympic Winter Games, Men's Ice Hockey Tournament

The tournament will include the top-8 nations according to the 2019 IIHF Men's World Ranking (Canada, Russia, Finland, Sweden, Czech Republic, USA, Germany, Switzerland), host China and three qualifiers.

Final Olympic Qualification (27-30 August 2020)

Group D: Slovakia, Belarus, Austria, Qualifier 6.

Group E: Latvia, France, Italy, Qualifier 5.

Group F: Norway, Denmark, Korea, Qualifier 4.

Olympic Pre-Qualification Round 3 (6-9 February 2020)

Group G: Slovenia, Japan, Lithuania, Qualifier 9.

Group H: Kazakhstan, Poland, Ukraine, Qualifier 8.

Group J: Great Britain, Hungary, Estonia, Qualifier 7.

Olympic Pre-Qualification Round 2 (12-15 December 2019)

Group K: Romania, Iceland, Israel, Qualifier 11.

Group L: Netherlands, Spain, Mexico, Qualifier 10.

Group M: Croatia, Serbia, Bulgaria, Turkey.

Olympic Pre-Qualification Round 1 (7-10 November 2019)

Group N: Luxembourg, United Arab Emirates, Bosnia & Herzegovina, Kyrgyzstan.

Group O: Chinese Taipei, Hong Kong, Kuwait, Thailand.

The 2022 Olympic women's ice hockey tournament will for the first time be played with 10 teams.

The qualification process will be determined at the Annual Congress in May 2020 and be based on the 2020 IIHF Women's World Ranking.

Ice hockey at the 2022 Winter Olympics – Men's qualification

Qualification for the men's tournament at the 2022 Winter Olympics was determined by the IIHF World Ranking following the 2019 Men's World Ice Hockey Championships.


All other teams have an opportunity to qualify for the remaining three spots in the Olympics.

Click here for the ice hockey websites of the most recent Olympic Winter Games:

For the 2022 Olympic men's ice hockey tournament the top-8 nations of the 2019 IIHF Men's World Ranking will be automatically qualified and together with host China and the three qualifiers be seeded according to the 2020 IIHF Men's World Ranking.

The three qualifiers will be determined in four stages of the Olympic Qualification starting in the 2019/2020 season according to the schematic below.

The 2022 Olympic men's ice hockey tournament will be played according to the same format used in PyeongChang 2018, Sochi 2014 and Vancouver 2010 with three groups of four teams each.

The best four teams from an overall 12-team ranking – the group winners and the second-ranked team with the best record – will advance to the quarter-finals while the other teams will play a qualification playoff game.

Olympic Winter Games, Men's Ice Hockey Tournament

The tournament will include the top-8 nations according to the 2019 IIHF Men's World Ranking (Canada, Russia, Finland, Sweden, Czech Republic, USA, Germany, Switzerland), host China and three qualifiers.

Final Olympic Qualification (27-30 August 2020)

Group D: Slovakia, Belarus, Austria, Qualifier 6.

Group E: Latvia, France, Italy, Qualifier 5.

Group F: Norway, Denmark, Korea, Qualifier 4.

Olympic Pre-Qualification Round 3 (6-9 February 2020)

Group G: Slovenia, Japan, Lithuania, Qualifier 9.

Group H: Kazakhstan, Poland, Ukraine, Qualifier 8.

Group J: Great Britain, Hungary, Estonia, Qualifier 7.

Olympic Pre-Qualification Round 2 (12-15 December 2019)

Group K: Romania, Iceland, Israel, Qualifier 11.

Group L: Netherlands, Spain, Mexico, Qualifier 10.

Group M: Croatia, Serbia, Bulgaria, Turkey.

Olympic Pre-Qualification Round 1 (7-10 November 2019)

Group N: Luxembourg, United Arab Emirates, Bosnia & Herzegovina, Kyrgyzstan.

Group O: Chinese Taipei, Hong Kong, Kuwait, Thailand.

The 2022 Olympic women's ice hockey tournament will for the first time be played with 10 teams.

The qualification process will be determined at the Annual Congress in May 2020 and be based on the 2020 IIHF Women's World Ranking.

Qualification for the men's tournament at the 2022 Winter Olympics was determined by the IIHF World Ranking following the 2019 Men's World Ice Hockey Championships. The host along with the top eight teams in the world ranking received automatic berths into the Olympics.


The Eblana Theatre was originally intended as a newsreel venue.

(meta data) TITLE: Grande dame of Eblana

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For more information see our Cookie Policy.

Phyllis Ryan, above: has plans for a play about a transvestite.

Eblana productions: top, Rosaleen Linehan and Des Keogh in Funnybones (1966); far right, Brenda Fricker and Niall Buggy in Black Rosie (1970); right, Cecil Sheridan in The Good Old Days (1965).

Photographs from The Company I Kept by Phyllis Ryan (Town House, £18.99 in the UK)

"There aren't many actors over the age of 40 who didn't get their first chance with Gemini," declares Phyllis Ryan.

Now in her 70s, Ryan is a lady small in stature but large in reputation.

When still a schoolgirl, she was accepted for the Abbey Theatre School of Acting and then joined the company at 17.

After some years with the Abbey, she went into the management side, forming Gemini Productions in 1958, with Norman Rodway.

Gemini's base for many years was the Eblana Theatre, underneath Busaras.

We are used to hearing the Eblana mentioned in fairly derogatory terms, along the lines of: "The only public toilet in Dublin with its own theatre".

In fact, the Eblana was originally designed as a news cinema.

It went on to become a well-attended, well-respected little theatre, in the days before the Project or Andrew's Lane.

And, while somewhat eccentric in location, the Eblana was also undeniably a clever, imaginative addition to a national transport centre.

For instance, Gemini was the first theatre company to produce John B. Keane's The Field and Big Maggie.

The original Bull was the late Ray McAnally.

It also produced a revised version of The Year of the Hiker.

These were huge popular successes, and undoubtedly helped the profile of the company, as well as being financial successes.

Gemini moved out of the Eblana in the mid-1980s.

Of the now defunct Eblana, Ryan says: "If the entrance could be changed so that you didn't have to go past the ladies loo to get to it - if you made the entrance at the side that bank place is on, it would make all the difference for the theatre".

Gemini's last production as a company was in the early 1990s.

Apart from the odd small grant for certain productions, it never received any regular State funding.

"It's nearly impossible to function well without a subsidy of some sort," Ryan admits.

"I never thought I'd hear myself saying that.

But to do really good work, you do need the money."

Gemini's last production was Keane's The Matchmaker at the Tivoli.

This month, to mark 40 years of Gemini Productions, The Matchmaker will run at Dublin's HQ for six weeks, starring Anna Managhan and Des Keogh.

Michael Scott is directing the show, in association with Gemini.

In 1996, Ryan published her memoirs, The Company I Kept, which recounted stories of the many people she has known in her long career.

Hilton Edwards left his sick bed in hospital to attend a gala tribute to her in 1981.

She met Anne Yeats, who was studying theatre design at the Abbey, and who took her to the Yeats' home, to visit.

They had to be quiet for fear that "Daddy might be working".

She met Frank O'Connor, Lennox Robinson, and F.R. Higgins.

Lennox Robinson wanted her to smoke for a part in a play when she was 17, in the days before the health risks of nicotine were really known and she ended up a life-long smoker.

In the late 1940s, Ryan played Pegeen Mike in a London production of Synge's Playboy of the Western World.

She arrived to discover that Maire O'Neill, Synge's love, and inspiration for the Playboy, was playing the Widow Quin.

On the last night of the show, O'Neill, who had sadly developed a debilitating drink problem, took her aside.

She had, she said, all of Synge's love letters with her in the dressing room, and she wanted Ryan to take them to Ireland, to deposit them at a solicitor's office.

Whether the letters really were in the dressing room, or whether O'Neill was imagining their presence there, Ryan refused the offer, but had a bittersweet story to tell forever after.

So did Ryan keep diaries or journals during these years?

There are vividly-recalled passages in The Company I Kept about her acting days as a young girl.

There are also candid and honest recounts of the intense emotions of a young girl undergoing a series of romantic crushes, and see-sawing between emotional highs and lows.

Micheal Mac Liammoir was a particular god from the age of 11, and is mentioned as early as the second sentence of her memoirs.

The playwright, Denis Johnston, is another person she recalls in her memoirs.

Looking up from my notebook during the interview, in a moment of serendipity, I saw Jennifer Johnston, daughter of the playwright, walking through the hotel lobby.

For a couple of minutes, it's hard to concentrate on what's being said: I'm half expecting an informal procession from Ryan's past to appear behind Jennifer Johnston.

In the past few years, since the publication of the book, she has had several cameo roles both in film and theatre.

"I keep on thinking I'll have a period when nothing happens, but it never does."

She intends to finish a second book of memoirs next year; the book is already halfwritten.

There are also two plays she wants to produce under the Gemini umbrella, when The Matchmaker's run is over.

She is reluctant to talk about one of them, as the rights are still under discussion, but the other is "about a transvestite and his world", by an Australian writer.

Notwithstanding the general abandonment of social niceties these days, it is still a little surreal to hear the word "transvestite" being spoken by a lady of a certain age, sitting in the Shelbourne, wearing a hat, and sipping Lapsang Souchon tea.

The family provided by the theatrical world seems to have often substituted for her own family life.

Her husband spent most of their married life apart from her, and she left her two small children with her mother for long periods, when acting jobs turned up in Britain.

Doris, her only sibling, now lives in California and they have not seen each other for 10 years.

She has not seen Blair, her sister's only child, since he was a small boy.

"But he has promised to bring Doris over to see me," she says hopefully, her eyes bright.

"There are great big lonely gaps in my life," she admits.

But she's talking about her professional life.

"We've lost actors like Marie Keane, Donal McCann, Ray McAnally.

I keep casting people in my head, and then remembering they're dead.

But I don't feel like they're too far away.

Holes keep opening up in your life," she reflects, with a tiny smile.

As for retiring from the active service of theatre life?

"I can't think of a life where I wasn't doing what I've always done, and which I absolutely love," she says with absolute conviction.

The Matchmaker opened at HQ, Middle Abbey Street, Dublin, this week, for a limited run.

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Stability in Ireland must be upheld, Macron tells Johnson

Ireland agrees to accept migrants stranded on Ocean Viking

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G7: Trump officials voice anger at focus on 'niche' issues such as climate change

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Busáras was designed by Michael Scott and his team of young architects and designers between 1945 and 1953. It was built against a background of public opposition which centred on the external appearance, function and excessive cost – over £1,000,000 before completion in 1953. Simultaneously loathed by some of the populace and loved by architectural purists, the building was designed in an International Modern style between 1945 and 1953. A number of the original fixtures and fittings designed by Scott still exist, including terrazzo floor tiles, and large timber wall panels.
 One of the first modern buildings in Dublin that attempted to integrate art and architecture, utilising elements like glass facades and a pavilionised top storey, the building won the Royal Institute of the Architects of Ireland (RIAI) Triennial Gold medal in 1955. It was featured on the highest value stamp issued in the "Architecture" definitive postage stamp set issued in 1982 by the P&T, the forerunner of An Post.


The Eblana Theatre is in the basement of the building.

(meta data) TITLE: Grande dame of Eblana

We use cookies to personalise content, target and report on ads, to provide social media features and to analyse our traffic.

For more information see our Cookie Policy.

Phyllis Ryan, above: has plans for a play about a transvestite.

Eblana productions: top, Rosaleen Linehan and Des Keogh in Funnybones (1966); far right, Brenda Fricker and Niall Buggy in Black Rosie (1970); right, Cecil Sheridan in The Good Old Days (1965).

Photographs from The Company I Kept by Phyllis Ryan (Town House, £18.99 in the UK)

"There aren't many actors over the age of 40 who didn't get their first chance with Gemini," declares Phyllis Ryan.

Now in her 70s, Ryan is a lady small in stature but large in reputation.

When still a schoolgirl, she was accepted for the Abbey Theatre School of Acting and then joined the company at 17.

After some years with the Abbey, she went into the management side, forming Gemini Productions in 1958, with Norman Rodway.

Gemini's base for many years was the Eblana Theatre, underneath Busaras.

We are used to hearing the Eblana mentioned in fairly derogatory terms, along the lines of: "The only public toilet in Dublin with its own theatre".

In fact, the Eblana was originally designed as a news cinema.

It went on to become a well-attended, well-respected little theatre, in the days before the Project or Andrew's Lane.

And, while somewhat eccentric in location, the Eblana was also undeniably a clever, imaginative addition to a national transport centre.

For instance, Gemini was the first theatre company to produce John B. Keane's The Field and Big Maggie.

The original Bull was the late Ray McAnally.

It also produced a revised version of The Year of the Hiker.

These were huge popular successes, and undoubtedly helped the profile of the company, as well as being financial successes.

Gemini moved out of the Eblana in the mid-1980s.

Of the now defunct Eblana, Ryan says: "If the entrance could be changed so that you didn't have to go past the ladies loo to get to it - if you made the entrance at the side that bank place is on, it would make all the difference for the theatre".

Gemini's last production as a company was in the early 1990s.

Apart from the odd small grant for certain productions, it never received any regular State funding.

"It's nearly impossible to function well without a subsidy of some sort," Ryan admits.

"I never thought I'd hear myself saying that.

But to do really good work, you do need the money."

Gemini's last production was Keane's The Matchmaker at the Tivoli.

This month, to mark 40 years of Gemini Productions, The Matchmaker will run at Dublin's HQ for six weeks, starring Anna Managhan and Des Keogh.

Michael Scott is directing the show, in association with Gemini.

In 1996, Ryan published her memoirs, The Company I Kept, which recounted stories of the many people she has known in her long career.

Hilton Edwards left his sick bed in hospital to attend a gala tribute to her in 1981.

She met Anne Yeats, who was studying theatre design at the Abbey, and who took her to the Yeats' home, to visit.

They had to be quiet for fear that "Daddy might be working".

She met Frank O'Connor, Lennox Robinson, and F.R. Higgins.

Lennox Robinson wanted her to smoke for a part in a play when she was 17, in the days before the health risks of nicotine were really known and she ended up a life-long smoker.

In the late 1940s, Ryan played Pegeen Mike in a London production of Synge's Playboy of the Western World.

She arrived to discover that Maire O'Neill, Synge's love, and inspiration for the Playboy, was playing the Widow Quin.

On the last night of the show, O'Neill, who had sadly developed a debilitating drink problem, took her aside.

She had, she said, all of Synge's love letters with her in the dressing room, and she wanted Ryan to take them to Ireland, to deposit them at a solicitor's office.

Whether the letters really were in the dressing room, or whether O'Neill was imagining their presence there, Ryan refused the offer, but had a bittersweet story to tell forever after.

So did Ryan keep diaries or journals during these years?

There are vividly-recalled passages in The Company I Kept about her acting days as a young girl.

There are also candid and honest recounts of the intense emotions of a young girl undergoing a series of romantic crushes, and see-sawing between emotional highs and lows.

Micheal Mac Liammoir was a particular god from the age of 11, and is mentioned as early as the second sentence of her memoirs.

The playwright, Denis Johnston, is another person she recalls in her memoirs.

Looking up from my notebook during the interview, in a moment of serendipity, I saw Jennifer Johnston, daughter of the playwright, walking through the hotel lobby.

For a couple of minutes, it's hard to concentrate on what's being said: I'm half expecting an informal procession from Ryan's past to appear behind Jennifer Johnston.

In the past few years, since the publication of the book, she has had several cameo roles both in film and theatre.

"I keep on thinking I'll have a period when nothing happens, but it never does."

She intends to finish a second book of memoirs next year; the book is already halfwritten.

There are also two plays she wants to produce under the Gemini umbrella, when The Matchmaker's run is over.

She is reluctant to talk about one of them, as the rights are still under discussion, but the other is "about a transvestite and his world", by an Australian writer.

Notwithstanding the general abandonment of social niceties these days, it is still a little surreal to hear the word "transvestite" being spoken by a lady of a certain age, sitting in the Shelbourne, wearing a hat, and sipping Lapsang Souchon tea.

The family provided by the theatrical world seems to have often substituted for her own family life.

Her husband spent most of their married life apart from her, and she left her two small children with her mother for long periods, when acting jobs turned up in Britain.

Doris, her only sibling, now lives in California and they have not seen each other for 10 years.

She has not seen Blair, her sister's only child, since he was a small boy.

"But he has promised to bring Doris over to see me," she says hopefully, her eyes bright.

"There are great big lonely gaps in my life," she admits.

But she's talking about her professional life.

"We've lost actors like Marie Keane, Donal McCann, Ray McAnally.

I keep casting people in my head, and then remembering they're dead.

But I don't feel like they're too far away.

Holes keep opening up in your life," she reflects, with a tiny smile.

As for retiring from the active service of theatre life?

"I can't think of a life where I wasn't doing what I've always done, and which I absolutely love," she says with absolute conviction.

The Matchmaker opened at HQ, Middle Abbey Street, Dublin, this week, for a limited run.

Tusk hopes Johnson does not want to be remembered as 'Mr No Deal'

Activists use sand art to tackle G7 on gender equality

Hong Kong protesters form 50km human chain

Irish Nicaragua activists express concern over violent repression

Dublin's Victorian fruit and vegetable market closes after 127 years

Stability in Ireland must be upheld, Macron tells Johnson

Ireland agrees to accept migrants stranded on Ocean Viking

Brexit: Johnson to tell Tusk UK will pay

G7: Trump officials voice anger at focus on 'niche' issues such as climate change

How a bitter divorce on Earth led to a claim of crime in space

G7 summit opens amid diplomatic rows and protests

End of an era as landmark Warwick Hotel in Galway is demolished

Tour Championship third round suspended as lightning strikes

Nicolas Roche and Sam Bennett start well in Vuelta a España

Amazon fires: Brazilian states ask for military help amid record blazes

Specially selected and available only to our subscribers

Exclusive offers, discounts and invitations

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Busáras was designed by Michael Scott and his team of young architects and designers between 1945 and 1953. It was built against a background of public opposition which centred on the external appearance, function and excessive cost – over £1,000,000 before completion in 1953. Simultaneously loathed by some of the populace and loved by architectural purists, the building was designed in an International Modern style between 1945 and 1953. A number of the original fixtures and fittings designed by Scott still exist, including terrazzo floor tiles, and large timber wall panels.
 One of the first modern buildings in Dublin that attempted to integrate art and architecture, utilising elements like glass facades and a pavilionised top storey, the building won the Royal Institute of the Architects of Ireland (RIAI) Triennial Gold medal in 1955. It was featured on the highest value stamp issued in the "Architecture" definitive postage stamp set issued in 1982 by the P&T, the forerunner of An Post.
 The Eblana Theatre was originally intended as a newsreel venue.


The Eblana Theatre was used as a theatre venue from 1959 to 1995.

(meta data) TITLE: Grande dame of Eblana

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Phyllis Ryan, above: has plans for a play about a transvestite.

Eblana productions: top, Rosaleen Linehan and Des Keogh in Funnybones (1966); far right, Brenda Fricker and Niall Buggy in Black Rosie (1970); right, Cecil Sheridan in The Good Old Days (1965).

Photographs from The Company I Kept by Phyllis Ryan (Town House, £18.99 in the UK)

"There aren't many actors over the age of 40 who didn't get their first chance with Gemini," declares Phyllis Ryan.

Now in her 70s, Ryan is a lady small in stature but large in reputation.

When still a schoolgirl, she was accepted for the Abbey Theatre School of Acting and then joined the company at 17.

After some years with the Abbey, she went into the management side, forming Gemini Productions in 1958, with Norman Rodway.

Gemini's base for many years was the Eblana Theatre, underneath Busaras.

We are used to hearing the Eblana mentioned in fairly derogatory terms, along the lines of: "The only public toilet in Dublin with its own theatre".

In fact, the Eblana was originally designed as a news cinema.

It went on to become a well-attended, well-respected little theatre, in the days before the Project or Andrew's Lane.

And, while somewhat eccentric in location, the Eblana was also undeniably a clever, imaginative addition to a national transport centre.

For instance, Gemini was the first theatre company to produce John B. Keane's The Field and Big Maggie.

The original Bull was the late Ray McAnally.

It also produced a revised version of The Year of the Hiker.

These were huge popular successes, and undoubtedly helped the profile of the company, as well as being financial successes.

Gemini moved out of the Eblana in the mid-1980s.

Of the now defunct Eblana, Ryan says: "If the entrance could be changed so that you didn't have to go past the ladies loo to get to it - if you made the entrance at the side that bank place is on, it would make all the difference for the theatre".

Gemini's last production as a company was in the early 1990s.

Apart from the odd small grant for certain productions, it never received any regular State funding.

"It's nearly impossible to function well without a subsidy of some sort," Ryan admits.

"I never thought I'd hear myself saying that.

But to do really good work, you do need the money."

Gemini's last production was Keane's The Matchmaker at the Tivoli.

This month, to mark 40 years of Gemini Productions, The Matchmaker will run at Dublin's HQ for six weeks, starring Anna Managhan and Des Keogh.

Michael Scott is directing the show, in association with Gemini.

In 1996, Ryan published her memoirs, The Company I Kept, which recounted stories of the many people she has known in her long career.

Hilton Edwards left his sick bed in hospital to attend a gala tribute to her in 1981.

She met Anne Yeats, who was studying theatre design at the Abbey, and who took her to the Yeats' home, to visit.

They had to be quiet for fear that "Daddy might be working".

She met Frank O'Connor, Lennox Robinson, and F.R. Higgins.

Lennox Robinson wanted her to smoke for a part in a play when she was 17, in the days before the health risks of nicotine were really known and she ended up a life-long smoker.

In the late 1940s, Ryan played Pegeen Mike in a London production of Synge's Playboy of the Western World.

She arrived to discover that Maire O'Neill, Synge's love, and inspiration for the Playboy, was playing the Widow Quin.

On the last night of the show, O'Neill, who had sadly developed a debilitating drink problem, took her aside.

She had, she said, all of Synge's love letters with her in the dressing room, and she wanted Ryan to take them to Ireland, to deposit them at a solicitor's office.

Whether the letters really were in the dressing room, or whether O'Neill was imagining their presence there, Ryan refused the offer, but had a bittersweet story to tell forever after.

So did Ryan keep diaries or journals during these years?

There are vividly-recalled passages in The Company I Kept about her acting days as a young girl.

There are also candid and honest recounts of the intense emotions of a young girl undergoing a series of romantic crushes, and see-sawing between emotional highs and lows.

Micheal Mac Liammoir was a particular god from the age of 11, and is mentioned as early as the second sentence of her memoirs.

The playwright, Denis Johnston, is another person she recalls in her memoirs.

Looking up from my notebook during the interview, in a moment of serendipity, I saw Jennifer Johnston, daughter of the playwright, walking through the hotel lobby.

For a couple of minutes, it's hard to concentrate on what's being said: I'm half expecting an informal procession from Ryan's past to appear behind Jennifer Johnston.

In the past few years, since the publication of the book, she has had several cameo roles both in film and theatre.

"I keep on thinking I'll have a period when nothing happens, but it never does."

She intends to finish a second book of memoirs next year; the book is already halfwritten.

There are also two plays she wants to produce under the Gemini umbrella, when The Matchmaker's run is over.

She is reluctant to talk about one of them, as the rights are still under discussion, but the other is "about a transvestite and his world", by an Australian writer.

Notwithstanding the general abandonment of social niceties these days, it is still a little surreal to hear the word "transvestite" being spoken by a lady of a certain age, sitting in the Shelbourne, wearing a hat, and sipping Lapsang Souchon tea.

The family provided by the theatrical world seems to have often substituted for her own family life.

Her husband spent most of their married life apart from her, and she left her two small children with her mother for long periods, when acting jobs turned up in Britain.

Doris, her only sibling, now lives in California and they have not seen each other for 10 years.

She has not seen Blair, her sister's only child, since he was a small boy.

"But he has promised to bring Doris over to see me," she says hopefully, her eyes bright.

"There are great big lonely gaps in my life," she admits.

But she's talking about her professional life.

"We've lost actors like Marie Keane, Donal McCann, Ray McAnally.

I keep casting people in my head, and then remembering they're dead.

But I don't feel like they're too far away.

Holes keep opening up in your life," she reflects, with a tiny smile.

As for retiring from the active service of theatre life?

"I can't think of a life where I wasn't doing what I've always done, and which I absolutely love," she says with absolute conviction.

The Matchmaker opened at HQ, Middle Abbey Street, Dublin, this week, for a limited run.

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Busáras was designed by Michael Scott and his team of young architects and designers between 1945 and 1953. It was built against a background of public opposition which centred on the external appearance, function and excessive cost – over £1,000,000 before completion in 1953. Simultaneously loathed by some of the populace and loved by architectural purists, the building was designed in an International Modern style between 1945 and 1953. A number of the original fixtures and fittings designed by Scott still exist, including terrazzo floor tiles, and large timber wall panels.
 One of the first modern buildings in Dublin that attempted to integrate art and architecture, utilising elements like glass facades and a pavilionised top storey, the building won the Royal Institute of the Architects of Ireland (RIAI) Triennial Gold medal in 1955. It was featured on the highest value stamp issued in the "Architecture" definitive postage stamp set issued in 1982 by the P&T, the forerunner of An Post.
 The Eblana Theatre was originally intended as a newsreel venue. The Eblana Theatre is in the basement of the building.


(meta data) TITLE: Weliamuna Report recommends criminal prosecution of SriLankan Chairman, CEO

## Weliamuna Report recommends criminal prosecution of SriLankan Chairman, CEO

A Board of Inquiry has found shocking details of corruption running into billions of dollars, manipulations of service contracting, recruitment of unqualified staff and major security breaches at Sri Lankan Airlines under the former government, revealed a press release issued by the Prime Minister's Office.

The panel headed by anti-corruption advocate and senior lawyer J. C. Weliamuna found instances of gross abuse of power by former Chairman Nishantha Wickramasinghe whose penchant for young Air Hostesses cost the debt-ridden airline even more problems.

The former government of President Mahinda Rajapakse made management changes to carry out a re-fleeting of the airline with brand-new aircraft costing $2.3 billion despite the availability of more cost effective alternatives.

The Weliamuna report recommends criminal investigations into the entire re-fleeting process and have noted instances where former Chairmen Wickramasinghe, a brother-in-law of Mahinda Rajapakse, should be prosecuted.

The Board of Inquiry (BOI) found evidence of Wickramasinghe and Sri Lankan CEO, Kapila Chandrasena falsifying documents to lease a luxury sports utility vehicle for the use of Wickramasinghe.

This was in addition to a luxury Mercedes Benz vehicle and a Prado super luxury vehicle.

The purchase of vehicles pales into insignificance when compared to irregularities in the re-fleeting exercise and a fiasco involving the launch of an air taxi service which was eventually abandoned causing millions of dollars in losses to SriLankan Airlines.

The management of Sri Lankan staff knowingly ignored conflict of interest in companies and individuals hired to advise the national carrier on procurements leading to a reasonable assumption that they were all corrupt deals.

A Cabin crew member had been released from the Airline to work at the Presidential Secretariat following a request from the then Presidential Secretary Lalith Weeratunga, but she was actually released for Namal Rajapaksa's political work.

She had been paid by the airline, including allowances for cabin work although there is no explanation of what services she provided except that she had been over paid more than 4.2 million rupees.

The BOI recommends that the SriLankan Airlines take action to recover the overpaid amounts from the staff member who has been identified in the report and direct prosecutions of those who authorized misappropriation of public finance.

The BOI also found that several applicants who repeatedly failed entrance tests were eventually recruited on verbal requests from the management.

The former Chairman had also created a post of "SLA Brand Ambassador" and appointed his known companion, an Air Hostess even though no such designation was known to the national carrier.

The couple had travelled abroad on tickets bought by Sri Lankan from other airlines too.

"In our investigation, we can conclusively hold that former Chairman's association with cabin crew members exposed Sri Lankan Airlines to abuse of power, causing reputational risks as well as financial losses.

"BOI can also hold that there was no corporate culture in the board or the top management to raise such issues when a senior officer or the Chairman was involved in such behavioral issues adversely affecting the company"

The BOI has found CEO Chandrasena unsuitable for the job and was surprised to discover that he was paid a minimum monthly salary of 1.5 million rupees on top of other perks and he had also enjoyed salaries simultaneously from his other appointments.

There had been a time when he drew a salary as Mobitel CEO as well as Mihin Lanka CEO.

The BOI recommends criminal prosecutions of Chandrasena as well as Wickramasinghe, among other senior management staff.

The BOI also found that a London station manager who tried to stop the illegal practice of sending motor spare parts for the use of former president's son Yoshitha had been suddenly transferred out on the direction of the former President Rajapaske.

The airline had also tried to hush up two serious flying mishaps involving the chief pilot Druvi Perera and Captain U. A. V. Pathirana.

Two staff members involved in alleged human smuggling had got off lightly raising serious concerns whether few employees continue to support a criminal human smuggling ring.

The BOI also raised questions about the suitability of appointing a retired Army Major General, P. Chandrawansa, who did not have aviation security experience on a salary of 450,000 rupees, without following recruitment procedure and accused him of engaging in political activities while in the employment of Sri Lankan Airlines.

The BOI recommends the termination of services, or immediate disciplinary action for breaching company rules.

Security Department was among the most politicized.

The BOI praised two senior pilots -- Patrick Fernando and Ranga Amadoru -- who had resigned in protest against attempts to lower pass marks of recruit pilots.

"Their resignation effectively prevented the selection of unsuitable candidates in the 2013 Cadet Pilot intake.

In view of their bold stand taken to protect professional standards, BOI recommends that they be commended."

The report also lists major fraud in the award of tenders and singles out a duty free deal and the sale of wine as one of the blatantly corrupt deals of Sri Lankan requiring a criminal investigation.

BOI points out the corrupt manner in which General Sales Agents were appointed in many countries on behalf of the airlines and manipulations made.

BOI also recommends criminal investigations on the involvement of Udayanga Weeratunga former Ambassador to Russia and Dilan Ariyawansa in several GSA appointments.

Finally the BOI has concluded that the management culture was a major contributory factor for abuse of power and external interference into the business of Sri Lankan Airlines.

Last modified on Monday, 06 April 2015 05:18

« Speech by President Maithripala Sirisena, at the Plenary Session of the Boao Forum for Asia 2015, on 28 March 2015

The Sinhala and Tamil New Year Customs and rituals »

#### Three new envoys present credentials to President

#### RETARDATION OF NATIONAL DEVELOPMENT AND PROGRESS

#### Lanka exports to USA reach US$ 3 bn mark

Economy - Development - ProvincialAug 19, 2019

#### Premier inaugurates automobile assembly plant in Welipenna

#### Hi-tech boats to ensure speedy health service

#### Despite challenges, Gov.t keeping economy steady - PM

#### Opportunity created for officials to perform their duties – President

President - Parliament - Prime MinisterAug 19, 2019

#### 31 Colonels Promoted to Brigadier Rank

#### 1913 hotline for illicit liquor from tomorrow

#### Dimuth stars as Sri Lanka sniff victory

In 2008 when Emirates pulled out, the accumulated profit of SriLankan was Rs. 9.288 billion in that financial year. From 2008 to 2015, when the government administration ran it, the loss for the seven years was Rs. 128.238 billion (US$875 million).
 Following the ownership transfer, SriLankan took the decision to promote Colombo as a hub for flights to Asia. The first destination of the expansion plan was Shanghai, China; the route was initiated on 1 July 2010. The airline commenced flights to Guangzhou, China on 28 January 2011. SriLankan joined the Oneworld alliance on 1 May 2014. During 2014 it started to renew and increase its fleet, with purchases of Airbus A330 & A350 models.


SriLankan's Air-Taxi services have been discontinued.

(meta data) TITLE: Weliamuna Report recommends criminal prosecution of SriLankan Chairman, CEO

## Weliamuna Report recommends criminal prosecution of SriLankan Chairman, CEO

A Board of Inquiry has found shocking details of corruption running into billions of dollars, manipulations of service contracting, recruitment of unqualified staff and major security breaches at Sri Lankan Airlines under the former government, revealed a press release issued by the Prime Minister's Office.

The panel headed by anti-corruption advocate and senior lawyer J. C. Weliamuna found instances of gross abuse of power by former Chairman Nishantha Wickramasinghe whose penchant for young Air Hostesses cost the debt-ridden airline even more problems.

The former government of President Mahinda Rajapakse made management changes to carry out a re-fleeting of the airline with brand-new aircraft costing $2.3 billion despite the availability of more cost effective alternatives.

The Weliamuna report recommends criminal investigations into the entire re-fleeting process and have noted instances where former Chairmen Wickramasinghe, a brother-in-law of Mahinda Rajapakse, should be prosecuted.

The Board of Inquiry (BOI) found evidence of Wickramasinghe and Sri Lankan CEO, Kapila Chandrasena falsifying documents to lease a luxury sports utility vehicle for the use of Wickramasinghe.

This was in addition to a luxury Mercedes Benz vehicle and a Prado super luxury vehicle.

The purchase of vehicles pales into insignificance when compared to irregularities in the re-fleeting exercise and a fiasco involving the launch of an air taxi service which was eventually abandoned causing millions of dollars in losses to SriLankan Airlines.

The management of Sri Lankan staff knowingly ignored conflict of interest in companies and individuals hired to advise the national carrier on procurements leading to a reasonable assumption that they were all corrupt deals.

A Cabin crew member had been released from the Airline to work at the Presidential Secretariat following a request from the then Presidential Secretary Lalith Weeratunga, but she was actually released for Namal Rajapaksa's political work.

She had been paid by the airline, including allowances for cabin work although there is no explanation of what services she provided except that she had been over paid more than 4.2 million rupees.

The BOI recommends that the SriLankan Airlines take action to recover the overpaid amounts from the staff member who has been identified in the report and direct prosecutions of those who authorized misappropriation of public finance.

The BOI also found that several applicants who repeatedly failed entrance tests were eventually recruited on verbal requests from the management.

The former Chairman had also created a post of "SLA Brand Ambassador" and appointed his known companion, an Air Hostess even though no such designation was known to the national carrier.

The couple had travelled abroad on tickets bought by Sri Lankan from other airlines too.

"In our investigation, we can conclusively hold that former Chairman's association with cabin crew members exposed Sri Lankan Airlines to abuse of power, causing reputational risks as well as financial losses.

"BOI can also hold that there was no corporate culture in the board or the top management to raise such issues when a senior officer or the Chairman was involved in such behavioral issues adversely affecting the company"

The BOI has found CEO Chandrasena unsuitable for the job and was surprised to discover that he was paid a minimum monthly salary of 1.5 million rupees on top of other perks and he had also enjoyed salaries simultaneously from his other appointments.

There had been a time when he drew a salary as Mobitel CEO as well as Mihin Lanka CEO.

The BOI recommends criminal prosecutions of Chandrasena as well as Wickramasinghe, among other senior management staff.

The BOI also found that a London station manager who tried to stop the illegal practice of sending motor spare parts for the use of former president's son Yoshitha had been suddenly transferred out on the direction of the former President Rajapaske.

The airline had also tried to hush up two serious flying mishaps involving the chief pilot Druvi Perera and Captain U. A. V. Pathirana.

Two staff members involved in alleged human smuggling had got off lightly raising serious concerns whether few employees continue to support a criminal human smuggling ring.

The BOI also raised questions about the suitability of appointing a retired Army Major General, P. Chandrawansa, who did not have aviation security experience on a salary of 450,000 rupees, without following recruitment procedure and accused him of engaging in political activities while in the employment of Sri Lankan Airlines.

The BOI recommends the termination of services, or immediate disciplinary action for breaching company rules.

Security Department was among the most politicized.

The BOI praised two senior pilots -- Patrick Fernando and Ranga Amadoru -- who had resigned in protest against attempts to lower pass marks of recruit pilots.

"Their resignation effectively prevented the selection of unsuitable candidates in the 2013 Cadet Pilot intake.

In view of their bold stand taken to protect professional standards, BOI recommends that they be commended."

The report also lists major fraud in the award of tenders and singles out a duty free deal and the sale of wine as one of the blatantly corrupt deals of Sri Lankan requiring a criminal investigation.

BOI points out the corrupt manner in which General Sales Agents were appointed in many countries on behalf of the airlines and manipulations made.

BOI also recommends criminal investigations on the involvement of Udayanga Weeratunga former Ambassador to Russia and Dilan Ariyawansa in several GSA appointments.

Finally the BOI has concluded that the management culture was a major contributory factor for abuse of power and external interference into the business of Sri Lankan Airlines.

Last modified on Monday, 06 April 2015 05:18

« Speech by President Maithripala Sirisena, at the Plenary Session of the Boao Forum for Asia 2015, on 28 March 2015

The Sinhala and Tamil New Year Customs and rituals »

#### Three new envoys present credentials to President

#### RETARDATION OF NATIONAL DEVELOPMENT AND PROGRESS

#### Lanka exports to USA reach US$ 3 bn mark

Economy - Development - ProvincialAug 19, 2019

#### Premier inaugurates automobile assembly plant in Welipenna

#### Hi-tech boats to ensure speedy health service

#### Despite challenges, Gov.t keeping economy steady - PM

#### Opportunity created for officials to perform their duties – President

President - Parliament - Prime MinisterAug 19, 2019

#### 31 Colonels Promoted to Brigadier Rank

#### 1913 hotline for illicit liquor from tomorrow

#### Dimuth stars as Sri Lanka sniff victory

In 2008 when Emirates pulled out, the accumulated profit of SriLankan was Rs. 9.288 billion in that financial year. From 2008 to 2015, when the government administration ran it, the loss for the seven years was Rs. 128.238 billion (US$875 million).
 Following the ownership transfer, SriLankan took the decision to promote Colombo as a hub for flights to Asia. The first destination of the expansion plan was Shanghai, China; the route was initiated on 1 July 2010. The airline commenced flights to Guangzhou, China on 28 January 2011. SriLankan joined the Oneworld alliance on 1 May 2014. During 2014 it started to renew and increase its fleet, with purchases of Airbus A330 & A350 models. SriLankan operates an all-Airbus fleet.


The founders' initial attempt at dealing with their constrained exhibition space was to create the Virtual Museum Of Bad Art.

(meta data) COPYRIGHT: permission-on-file

[an error occurred while processing this directive]

Backyard Computing, 73 Parker Road, Needham, MA 02194, 617/444-6757, Isacco@world,std,com, $19.95.

You've probably never set foot inside the Museum of Bad Art, possibly because it doesn't exist.

But that little technicality certainly won't stop you from enjoying the Virtual Museum of Bad Art (MOBA), the funniest CD-ROM satire I've ever seen.

Using a mouse, you can wander from room to room, eavesdrop on staff and visitors, and view the artwork itself (which is not a particularly recommended option).

There's a guy bemoaning having been stood up on a blind date at the museum and gradualy becoming aware of the painting that's in front of him ("This is really bad."), A connoisseur extolling the virtues of the frames ("A good frame, and you're halfway there."), and Some pseudointellectuals discussing the remarkable variety of styles by Unknown (the artist who has the most pictures hung at MOBA).

There's even a gift shop, where clicking on an item produces an order form to fill out.

How do you create a tour of someplace that doesen't exist?

The art is definitely real--plucked from various trash heaps over the years by curator Scott Wilson and director Jerry Reilly and usually on display in Reilly's basement--and hung temporarily in various Boston locations to be photographed along with visitors and staff played by the "Friends of MOBA".

I had to fiddle around a good bit to set up and run the CD-ROM, and the graphics were sometimes posterized--all of which seemed to blend with the charm of MOBA itself.

This is the perfect gift for that artsy--or antiartsy--friend.

Real or imaginary or somewhere in between, MOBA is a hoot.

(Reprinted with permission from the December 1995

Copyright by McGraw-Hill, Inc., New York,

The Museum Of Bad Art was established in 1994 by antique dealer Scott Wilson, who discovered what has become the museum's signature piece—"Lucy in the Field with Flowers"—protruding from between two trash cans on a Roslindale-area curb in Boston, among some garbage waiting to be collected. Wilson was initially interested only in the frame, but when he showed the picture to his friend Jerry Reilly, Reilly wanted both the frame and the painting. He exhibited "Lucy" in his home, and encouraged friends to look for other bad art and notify Wilson of what they found. When Wilson acquired another "equally lovely" piece and shared it with Reilly, they decided to start a collection. Reilly and his wife, Marie Jackson, held a party in their basement to exhibit the collection to date, and hosted a reception they facetiously titled "The Opening of the Museum Of Bad Art".
 Regular showings of the pieces collected by Wilson, Reilly, and Jackson (and those donated by others), became too much for Reilly and Jackson's small home in West Roxbury, Massachusetts, as hundreds of people attended the receptions.


The Virtual Museum Of Bad Art is a CD-ROM with a cast of 95 people.

The Museum Of Bad Art was established in 1994 by antique dealer Scott Wilson, who discovered what has become the museum's signature piece—"Lucy in the Field with Flowers"—protruding from between two trash cans on a Roslindale-area curb in Boston, among some garbage waiting to be collected. Wilson was initially interested only in the frame, but when he showed the picture to his friend Jerry Reilly, Reilly wanted both the frame and the painting. He exhibited "Lucy" in his home, and encouraged friends to look for other bad art and notify Wilson of what they found. When Wilson acquired another "equally lovely" piece and shared it with Reilly, they decided to start a collection. Reilly and his wife, Marie Jackson, held a party in their basement to exhibit the collection to date, and hosted a reception they facetiously titled "The Opening of the Museum Of Bad Art".
 Regular showings of the pieces collected by Wilson, Reilly, and Jackson (and those donated by others), became too much for Reilly and Jackson's small home in West Roxbury, Massachusetts, as hundreds of people attended the receptions. The founders' initial attempt at dealing with their constrained exhibition space was to create the Virtual Museum Of Bad Art.


The Virtual Museum Of Bad Art presented the MOBA art collection in a fictional imaginary museum.

The Museum Of Bad Art was established in 1994 by antique dealer Scott Wilson, who discovered what has become the museum's signature piece—"Lucy in the Field with Flowers"—protruding from between two trash cans on a Roslindale-area curb in Boston, among some garbage waiting to be collected. Wilson was initially interested only in the frame, but when he showed the picture to his friend Jerry Reilly, Reilly wanted both the frame and the painting. He exhibited "Lucy" in his home, and encouraged friends to look for other bad art and notify Wilson of what they found. When Wilson acquired another "equally lovely" piece and shared it with Reilly, they decided to start a collection. Reilly and his wife, Marie Jackson, held a party in their basement to exhibit the collection to date, and hosted a reception they facetiously titled "The Opening of the Museum Of Bad Art".
 Regular showings of the pieces collected by Wilson, Reilly, and Jackson (and those donated by others), became too much for Reilly and Jackson's small home in West Roxbury, Massachusetts, as hundreds of people attended the receptions. The founders' initial attempt at dealing with their constrained exhibition space was to create the Virtual Museum Of Bad Art. The Virtual Museum Of Bad Art is a CD-ROM with a cast of 95 people.