Added Dimension adds another dimension to your event.

We bring individual ideas to life, expertly managing your event from the initial creative response to the very last detail. We’re independent, fresh and innovative in our approach and we always keep your brand
and personality at the heart of the event.

Our experienced and friendly team, led by Directors Anthony Daniel and Edwina Dowling, is committed to super-serving our clients, delivering results that never disappoint

Our experience includes but is not limited to conferences, launches, ceremonies and parties.

Added Dimension® Events Limited
12 Spice Court
Plantation Wharf
Battersea
London, SW11 3UE

Call +44 (0)20 7978 7400
Fax +44 (0)20 7978 7447
events@addeddimension.co.uk

For employment opportunities please email
careers@addeddimension.co.uk

website : www.addeddimension.co.uk

Registered at the above address in England No. 3108476

The numbers that make up the event industry is largely consumed and managed by Middle Britain, mainly the middle class and upper middle class. The event industry constitutes, companies involved in the management and production of private events like weddings, birthdays, annivesary parties and conference and Corporate production specialist mainly involved in the producing of conferences for large private and public companies.

These conferences usually end with a party which involves various London Caterers and Entertainment Companies.

Since the 3rd Quarter of 2008 the event industry as a whole has been limping, everyone from equipment hire companies to wedding bands. Generally if you were a Wedding Band you would still be ok if you were a cheap or midpriced one and off course your band was extremely good.  However if you were relied on corporate events to pay the bills, then chances are some of the band members have signed up for benefits. Generally the lavish and slighltly lavish corporate events utilising live muscians have almost completety stoped using live bands, there has been a drop of almost 90%.

Up to about Easter, it looked like the Labour Goverments actions to help the economy recover were showing some signs of recovery as companies begun to receive enquiries for their services right up till Christmas, this involved Christmas Party Entertainment . The smiles and the enthusiasm begun to return, then easter came, then the elections came, then the BP Disaster came, the World cup and finally the nail on the coffin the Condems  Budget.

Now all of Britain is watching the World Cup to divert their attention from their real worries, trying to forget about the budget and its implications, on whether their jobs or businesses will survive and will the BP disaster wipe out some of the nest eggs and pension plans and further damage the economy and the diving currency (UK Pound) as billions of pounds flow out to America. 

So what does this mean to the limping UK event industry, it means, everything to do with their business is on hold, should everyone be worried and fold their business like the tuxedo business? I don’t think so, I think those being hit by the further  slowdowns, who have weathered the slowdown since 2008 should call their banks, afterall we helped them, there is no reason why they should not help us, reschedule payments, enjoy the world cup and wait for the light at the end of the tunnell.

Once everyone realises their business will go on and they are required for their jobs, their insecurities will go away and they will start planning their private and corporate events again.

BikeRadar Live 2010 is the UK’s ultimate cycling festival and it’s taking over Brands Hatch on 10-11 July. There’s something for everyone, whether you want to compete, watch your friends and family, or just check out some of the world’s best riders. See spectacular stunt displays, dirt jump and dual slalom competitions, grab show-only deals on bikes and accessories in the huge bike and gear expo, and test-ride the latest bikes in the UK’s biggest demo day. With on-site camping, a cycling film festival and live music in the big top, this is the perfect festival for the whole family. More info at live2010.bikeradar.com/buy-tickets/

Visit: www.bikeradar.com/live

The Adelphi Theatre is one of the most popular and well-known theatres in London’s West End but it recently became the subject of some criticism after it was painted black to promote its new show Love Never Dies.

Andrew Lloyd Webber, who owns the Adelphi Theatre, came under fire for painting the exterior of the theatre in black gloss paint before permission was received from Westminster Council.

The council’s report said: “The works have changed the character and appearance of the theatre and harmed its special architectural and historic interest, and also the Covent Garden conservation area’s character and appearance,”
Although one of their planning officers said the damage was “unacceptable” it looks like the matter has been settled on the basis that the appearance of the theatre will be restored to its former appearance after the show has ended.
The current Adelphi Theatre was originally designed by Ernest Runtz who designed the theatre to be decorated in a modernist 1930s art-deco style with cream tiles and was notable at the time for its complete lack of curves in the design; it is mostly straight lines and angles.

What we know today at the Adelphi Theatre was opened in December 1930 with the musical Evergreen and went on to run various musical and comedy shows. Some of the longer running shows include the musical comedy Me and My Girl which ran for almost eight years after opening in 1985. The Broadway classic Chicago was also well received by audiences and ran from 1997 until 2005. The musicals Evita and Joseph and the Amazing Technicolour Dreamcoat also graced the stage at the Adelphi before the new show, Love Never Dies, opened earlier this year.
The Adelphi was threatened by demolition in the 1960s when developers wanted to use the area to build offices but luckily was saved and extensively restored to its former glory in 1993 when Andrew Lloyd Webber became co-owner of the theatre.

Visitors to the Adelphi often comment on its art deco design and if you are lucky enough to be able to visit this impressive theatre then the clean line design is best seen from the outside by the glazed window, from looking out of the window in the Dress Circle Bar or from the front of the two circles and side boxes.

Venue : Bloomsbury Bowling Lanes Basement of:Tavistock Hotel, Bedford Way. London WC1H 9EU.
Date : Thursday May 6th.
Time: Doors 7pm.
Ticket : £5 entry to Oz. £4 entry dresses as your favourite character
Live acts : *Beans on Toast*missdavinalee*sMALL FAVOURS*
Special Guest DJ’s: *Nikki Grahame* Back To The Future* The Duelling Banjos* Gary Daines*

Hotly tipped London act missdavinalee present a gala party tribute to Frank Baum’s, The Wizard of Oz. Activities and stalls inspired by MGM’s classic film adaptation will be running alongside a serving up of brand new bands and special guest DJ’s held at the retro cool Bloomsbury Bowling Lanes.

Falling on election night, Beans on Toast delivers wit, sex and politics in the form of traditional story telling folk songs. Likened to Billy Bragg Beans on Toast has just returned from SXSW and has previously supported the likes of Frank Turner, The Holloways and Kate Nash. Saddling up next to BoT is brand spanking new band from North West London is sMALL FAVOURS. With only a handful of gigs under their belt they have already pricked the ears of independent labels and producers. A strong following and even stronger batch of songs, do yourself a favour and witness this band. Also playing will be the night’s hosts missdavinalee.

Other wotsits to enjoy: anti burlesque club night Eat Your Heart Out’s Miss Annabel Sings Kansas Karaoke & Kabaret Parlour, Toto Dog Show, Drown the Witch, Touch the Tinman, Eat The Emerald City, Yellow Brick Jenga, Flying Monkey cocktails, facepainting, Laugh Your Way Back to Kansas, A Million Hands, Love Me Then Leave Me, Bowling, Arcade games plus much more…

Excel London has won £6m of events business since being named as London’s first international convention centre (ICC) last October.

The wins will be worth an estimated £50m to the local economy from delegate spend, plus a further £50m of benefit from pending contracts.

ICC London Excel officially opens in May, and has confirmed event bookings up until 2015.

The venue’s expansion will bring an estimated £1.6bn in economic benefit to London by 2011.

Events booked at the venue include the European Conference on Optical Communications in 2013 and the European Federation of National Associations of Orthopaedics and Traumatology in 2014.

Excel London director of conferences and events James Rees said: “The sheer number and quality of events that ICC London Excel is attracting clearly illustrates why London and indeed the industry as a whole has needed an international convention centre.”

cforms contact form by delicious:days

Not only can we provide the marquee, but we can also arrange or recommend caterers, florists, photographers, bands and a whole host of other services to create your perfect event.

We offer a comprehensive range of structures to suit events from intimate private functions to large commercial exhibitions.

Our structures can be erected on any surface and do not require any centre poles or guy ropes. Thanks to our innovative central heating systems, our marquees are suitable for use all-year round, regardless of the weather!

service and attention to your individual needs.

Whether you would like a brochure to look through, a quotation for a particular event or a site visit, just let us know and we will be happy to help. Even if you would just like to run your initial ideas by one of our team members we would love to hear from you.

As every event is unique, we encourage you to request a FREE appointment with one of our trained staff at your venue so we can discuss your ideas and talk about all the different options available.

So please don’t be shy, get in contact today.

Academy Marquees

Phone: 01276 64666

Fax: 01276 22698

Email: info@academy-marquees.co.uk

Address
34 Upper Park Road
Camberley
GU15 2EF

Registration Number: 4590690

VAT Registration Number: 807220168

The theater company needed software that could help manage sound effects for a play while running on an Apple computer. Ashworth was a computer science graduate student in North Carolina, and he and a friend built one for them in a little over a month.

“It was completely starting from scratch,” Ashworth said. “It was a crazy project. … It was a simple problem being solved by a rudimentary piece of software.”

That was five years ago this month. Today, Ashworth’s modest piece of software has grown into what he now calls QLab, a full-featured program with a foothold in the niche industry of sound and video design for live productions. It’s being used at professional theaters from Baltimore to London and in major Broadway productions that have won Tony awards for sound design.

Shows at the Metropolitan Opera and the Kennedy Center also have featured music and sound crafted by designers using QLab. Other clients include trade shows and corporations that use the software to power their events.

“This little thing I threw out into the world is being involved with this stuff,” Ashworth said. “I’m still not used to it.” As an independent software developer working out of his Charles Village rowhouse, Ashworth attributes the increasing adoption of his product to an enthusiastic corps of theater multimedia professionals around the world who helped him improve his software and market it through word-of-mouth compliments.

His software can blend sound effects, video, animation, stage lighting and other effects, and also enable an engineer to set up an automated queue for the effects to play. He likens it to a production engineer first laying down dominoes of audio and visual effects, and at the push of a button, knocking them down during a show.

Traditionally, software for sound design that could power large-scale shows and events has been expensive and geared toward the PC-user market.

Ashworth focused on building software for the Mac because that’s what his first customer needed. He quickly discovered that there was a whole world of creative theater professionals using Macs who were looking for the software he was developing.

“It was the right opportunity waiting to be exploited,” he said.

In his early days, Ashworth had customers telling him that his software’s price was too low and that they’d be willing to pay more for it.

Sales were boosted last year by the release of a 2.0 version of QLab, Ashworth said, though he declined to release revenue figures. He gives away a “lite” version of QLab, which only offers sound design features for two speakers. Full versions for audio, video and musical instrument digital support cost $249 each, or $599 for a bundle of all three. Competitors’ software systems can run into the thousands of dollars.

“This whole thing grew from me giving away a free version,” Ashworth said.

Rory Dale, a sound designer at the Playhouse on the Square in Memphis, Tenn., said he has been a faithful user of the software for more than four years. He plans to use it to run sound and visual effects at the theater’s opening production of “Pippin” later this month. When Dale first started doing sound design, he’d have to juggle CDs and work in various programs, he said. But QLab has allowed him to better structure and automate his work quicker than ever.

“It really revolutionized what I do,” Dale said. “I can’t overstate that.”

Baltimore’s Center Stage has been using QLab for nearly three years, said Amy Wedel, the theater’s audio engineer. For Wedel, who’s been doing theater audio for 14 years, QLab was an easier-to-use alternative to more expensive software. Arranging audio effects was a more manual and complicated process before QLab came along, she said.

“A complex sequence you might not have been able to achieve otherwise, because you only have two hands … you can do that now by just hitting one ‘go’ button,” Wedel said.

On Broadway, QLab was used in a revival of “South Pacific,” which won a Tony award in sound design in 2008, Ashworth said. Two other shows using QLab won Tony awards in sound design last year, he said.

“It’s wonderful, but in some sense, it’s terrifying,” Ashworth said of his success. With QLab, he said, “I’m all of a sudden responsible for these productions not failing.”

Ashworth isn’t just a computer geek. He loves theater, having double-majored in it and computer science when he was in college in Minnesota. Originally from Kentucky, Ashworth attended graduate school at the University of North Carolina at Chapel Hill.

He and his wife moved to Baltimore to continue her education and, at first, he didn’t think they’d stay long. But they ended up buying a home, and Ashworth is happy with the local tech scene.Ashworth now has two employees and they all work remotely: Ashworth in Baltimore and the others in Seattle and California.

“It’s exciting,” a smiling Ashworth said of QLab’s growth. “And it’s a little nerve-racking.”
Copyright © 2010, The Baltimore Sun

The financial pressures on Wembley could increase if the Olympic Stadium in Stratford is retained as an 80,000-capacity stadium following the games, the stadium’s chairman admitted yesterday.

David Bernstein, who took over as chairman of Wembley National Stadium Ltd last year, said there were only a maximum of 40 events a year that could fill a stadium of its size in London.

If the Olympic Stadium were to be retained as an 80,000-capacity venue, an idea that is again gaining ground, it could harm the future viability of both. In 2008, which Bernstein said was a “very good year” in terms of attracting major events, Wembley hosted 35 including sporting fixtures and pop concerts.

Appearing before the London Assembly’s economic development, culture, sport and tourism committee, Bernstein said it would be difficult to get many more than that and conceded that the Olympic Stadium would be a competitor for those 40 events, particularly if it remained at its current capacity.

The panel’s chair, Dee Doocey, said: “If there are only 40 events capable of filling stadia of that size and you then suddenly have just down the road another stadium of similar size, it would seem almost inevitable that one will lose out to the other.”

A fierce debate has raged over whether the Olympic stadium should stay at its full capacity following the games or be reduced to 55,000 or 28,000 seats.

The Olympics minister, Tessa Jowell, originally decided that it would be reduced to a 28,000-capacity athletics stadium but was forced to reconsider after the new Olympic legacy company chaired by Baroness Ford said it wanted to look afresh at the issue.

It is believed that the shadow sports minister, Hugh Robertson, is sympathetic to the idea of retaining the stadium at its full size if a profitable model can be found. Talks with prospective tenants including West Ham broke down but could yet be ressurected.

Ironically, one arm of the FA – the World Cup 2018 bid team – could be responsible for a decision that poses huge financial challenges for another. One of the factors driving the argument that the Olympic stadium should retain its full capacity is that those putting together’s London’s proposals for the 2018 bid want to include it as one of their chosen venues.

Bernstein, the former Manchester City chairman who took over from Michael Jeffries as chairman last year, said it would take five years before Wembley stopped being a drain on the FA’s finances.

Wembley made a loss of £23m in 2008 once depreciation, interest payments and tax were taken into account. Despite refinancing its loans, the operating company faces several years of onerous interest payments on the £757m stadium.

“We will be paying reducing but large interest payments for the next 15 to 20 years,” said Bernstein. “Our plans are to get to break even after interest and depreciation within the next five years.”

The continuing strain that Wembley places on the FA’s accounts has become more significant in the wake of the collapse of Setanta’s £150m broadcasting deal. The FA is hoping to conclude a replacement deal with the BBC for the remaining FA Cup rights but is likely to have to accept a significant drop in income.

To hire the conference rooms at the Olympic Venue in Future or the Conference and Events Room in Wembley go to London Conference Venues