Theatrical Production....

A theatrical production is any work of theatre, such as a staged play, musical, comedy or drama produced from a written book or script. These works are protected by common law or statuary copyright unless in the public domain.^[1]

These productions generally feature actors, costumes and sets. The history of the theatrical production goes back to ancient Greece.

Theatrical productions vary in many ways. They can be anything from high school as well as college productions, community theatre productions to summer stock and regional theatre productions all the way to Broadway and Kings Road productions. Today's contemporary theatres produce a variety of plays and musicals that attract very different audiences.

In full theatrical productions there are a great number of people working towards many types of shows. A producer acquires financing, hires staff and oversees everything from the beginning to the end of each show. Theatrical staff is separated by department, which varies from theatre to theatre and production to production depending on needs.

The production will employ front of house and back of house staff. In addition to performers, stage hands, stage managers, lighting and sound technicians, many theatres will hire ushers, concessions workers, janitorial and security in mounting a theatrical production.

Theatrical productions may also involve other types of performance exhibitions, which include improvisational, skit and parody performances which involve varying levels of involvement from off-camera staff or assistants in order to create the production

theatrical production, the planning, rehearsal, and presentation of a work. Such a work is presented to an audience at a particular time and place by live performers, who use either themselves or inanimate figures, such as puppets, as the medium of presentation. A theatrical production can be either dramatic or nondramatic, depending upon the activity presented.

While dramatic productions frequently conform to a written text, it is not the use of such a text but rather the fictional mimetic (from Greek mimēsis, “imitation,” “representation”) nature of the performer’s behaviour that makes a work dramatic. For example, a person walking a tightrope is performing an acrobatic act, whereas a person who pretends to be an acrobat walking a tightrope is performing a dramatic act. Both performers are engaged in theatrical presentation, but only the latter is involved in the creation of dramatic illusion. Though a dramatic performance may include dancing, singing, juggling, acrobatics, or other nondramatic elements, it is concerned mainly with the representation of actual or imagined life.

In nondramatic theatrical productions there is no imitation of “another existence” but simply the entertainment or excitation of the audience by the performer. Whether acrobatic or musical, gestural or vocal, such activity is theatrical because it is presented by a live performer to an audience, but it remains nondramatic so long as it has a purely presentational quality rather than a representational one.

In any single theatrical production, one or another type of activity may so prevail that there is little difficulty in determining the aesthetic nature of the final work. A play by the 19th-century Norwegian dramatist Henrik Ibsen, with its depiction of middle-class behaviour, minimizes nondramatic activity; the recital of a song by the 19th-century Romantic composer Franz Schubert, by contrast, with its emphasis upon musical values, may ignore dramatic elements and, to a considerable extent, even the act of presentation itself. Between these two extremes, however, there are many types of theatrical production in which the aesthetic nature of the form is less simple. Opera, for example, employs both drama and music in shifting patterns of emphasis.

In Europe and the United States several forms arose in the 20th century that combine dramatic and nondramatic material. Vaudeville, or music hall, for instance, employs a succession of various acts, such as fictional sketches, musical and dance numbers, and feats of dexterity, of which some are representational and others are not. In the musical theatre, song and dance serve both to further the narrative and to provide a break from purely dramatic presentation. This variety also characterizes much Asian theatre, in which dramatic moments are elaborated in dance exhibitions. In light of these examples, the definition of what constitutes theatrical production must remain elastic.

For a general discussion of theatre as an art form, as well as a specific treatment of the crafts of acting and directing, see theatre, directing, and acting. The aesthetic dimension of a dramatic production is discussed under stage design. Drama as a literary genre is treated under dramatic literature. Drama or dramatic literature is also treated in numerous other articles, including those on the literature or theatre of a specific country or region, of which the following are examples:Western theatre; African literature; American literature; English literature; French literature;German literature; Greek literature; Japanese literature; and Oceanic literature. Other articles that pertain to theatrical production include circus and puppetry.

Table Of Contents

Elements of theatrical production

According to the British director Peter Brook, theatre occurs whenever someone crosses neutral space and is watched by another person. This definition of theatre raises some problems, such as the difficulty of determining neutral space, but it is useful in its firm commitment to demystifying theatrical production. In former times the idea of the actor as motivated by a desire to create astonishment and wonder was sometimes seen as the basis of all theatre. Certainly there are types of theatrical performance that entail ritual and magic, but theatre is far more frequently rooted in attempts to structure emotion and experience.

Panto Dame

Next is my assessment! Fingers crossed...

Hairdressing and Make-up Artistry Courses Available at James Watt College.

The courses in Hairdressing and Make-up Artistry give you the chance to gain practical experience in the college's own salons.
In addition to the basic Hairdressing skills of cutting, styling, colouring and perming, courses are also offered which allow you to develop your knowledge and skills to a higher level, in response to current industrial demands.
Qualifications in Make-up Artistry will appeal to those interested in providing this service for Film, Television and Theatre.

There are four course levels in  Hairdressing::

1: Cosmetology Hairdressing -Begin Hairdressing NPA 4
Available in Full-time and Part-time courses:
There are no entry requirements, although enthusiasm is important.
Entry subject to interview.
Job Op's: Can lead to employment as a salon Assistant
Moving on: NQ 5 Hairdressing

2: Hairdressing NQ 5
Available in Full-time and Part-time courses:
There are no entry requirements, Just an interest.
Entry subject to interview.
Job Op's: A range of employment options within the Hairdressing industry or students can progress to a range of higher level programs to gain additional skills and knowledge.

3: Hairdressing SVQ level III (6)
Available in Full-time and Part-time courses:
Entry requirements: NQ 5 or equivalent is required: however consideration to those with relevant Salon experience will be given.  
Entry subject to interview.
Job Op's: Opportunities at Junior Stylist/Stylist level, other opportunities may include Company Representatives and Salon Management.
Moving on: HNC Hairdressing, HNC Fashion Make-up or HND Make-up Artistry.

4: HNC Hairdressing 7
Available in Full-time and Part-time courses:
Entry requirements: SVQ level III or equivalent together with Salon experience or min 5 years experience within the industry.
Entry subject to interview.
Job Op's: Salon Manager/Owner, Company Representative or Lecture
moving on: HND Make-up Artistry course; SCQF will allow credits from HNC to contribute to a degree level qualification.
                                                                       ************

There are also four course levels for Make-Up Artistry:

1: Introduction to Make-up Artistry NQ 5
Available in Full-time and Part-time Courses:
No entry requirements, although a keen interest in art, fashion and media is recommended.
Job Op's: It is desired to continue to level 6 the HN to gain all skills.
Moving on: NQ level 6 Media Make-up.

2: Media Make-up NQ 6
This Course is only available in a Full-time position:
Entry requirements: NQ 5 Beauty and Make-up, SVQ level II Hairdressing, SVQ level II Beauty Therapy.
Job Op's: It is advised to progress onto HNC/D to achieve industry standards. Employment is limited to assisting roles within Media Make-up Artistry.
Moving on: HNC Fashion Make-up then HND Make-up Artistry.

3: HNC Fashion Make-up 7
Available in Full-time and Part-time Courses:
Entry requirements: VTCT Theatrical and Media Make-up, S/NVQ level II/III Hairdressing or SVQ II/III Beauty Therapy. Consideration given to those who have studied in fashion and art.
Entry subject to interview.  
Job Op's: May include working as a freelance Media Make-up Artist or within a Fashion Make-up company.
Moving on: HND Make-up Artistry, SCQF will allow credits from HNC to contribute to a degree level qulification.

4: HND Make-up Artistry 8
Available in Full-time and Part-time Courses:
Entry requirements: VTCT Theatrical and Media Make-up or S/NVQ level II/III Hairdressing. HNC Fashion Make-up will allow entry to year 2. Consideration to those with Salon experience.
Job Op's: Theatrical and TV Make-up industry. May include working with Fashion Make-up company, Management role or Lecturing position.
Moving on: SCQF will allow credits from the HND to contribute to a degree qualification.

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There are quite a few Beauty Therapy Courses available at James Watt College, I wanted to include a couple.

1: NC Beauty Care and Make-up 5
Available in Full-time and Part-time Courses:
No entry requirements: however pride in your appearance and an interest in working with people is expected. Successful achievement of cosmetology-Access to Beauty will provide direct access.
Job Op's: Employment or Self employment within the field of Beauty Therapy.
Moving on: SVQ level III Beauty Therapy.

2: Beauty Therapy ( general, Nail Services or Spa Therapy route) SVQ level II 6
Available in Full-time and Part-time Courses:
Entry requirements: SVQ level II Beauty Therapy in the appropriate route, NQ Beauty Care or IHBC level II Diploma in Beauty Specialist Techniques will provide direct access.
Job Op's: Offers a wide range of career choices/ Beauty Salon, Health Spa, Leisure Facilities, Large Hotel, Cruise Ships or Mobile Therapist.
Moving on: HNC/D Beauty Therapy.
                                                                  **********

Find out more:
Courses information/ If you have any questions about any of the Courses contact: enquiries@jameswatt.ac.uk  or Call 01475 553 057 (Greenock Courses)
                                      or  01294 559 00 Ext. 3107 (North Ayrshire Courses)
                                                                 ***********

Fundraiser

Task 10

part 1:

http://www.youtube.com/watch?v=rkqOI17X4Js&NR=1&feature=endscreen

http://www.youtube.com/watch?v=MvSp4OA3Z-k&feature=relmfu

Task 9

On the 10th October we had an interesting task!
We had to "dress the Piries" for a Halloween party in LA:
Our groop decided to do the Nightmare before Christmas, we included costumes prices and also a possible MUA for hire in LA. And we won!!

Essential Skills

In our last LD session on Wednesday 10th october,we covered numerous essential skills, as follows.
SUCCESSFUL LEARNERS:
Perception/ Designing/ Understanding/ Peer evaluation/ Research.
CONFIDENT INDIVIDUALS:
Observation/ Logical thinking/ Leadership/ Evaluation/ Perseverance/ Independent expression/ Flexibility.
EFFECTIVE CONTRIBUTORS:
Communication/ Focus/ Analysis/ Working with others/ Team skills/ Planning/ Practical application/ Enterprise-entrepreneurial skills/ Creativity/ Problem solving.
RESPONSIBLE CITIZENS:
Perspective/ Social awareness/ Objective rational thinking/ Consideration/ Coaching/ Empathy.

More curling

Pin curling! A little practise before my assessment next week!! Fingers crossed.

Pre Assessment

Looking good for the Assessment!!! Love grease paint, it's so easy to work with....

Pre assessment

Pin curling going well!! Fingers crossed for the assessment!!

Task 8

Tron Theatre: www.tron.co.uk
Rhythm Of Life www.tron.co.uk/event/rhythm_of_life/

Royal Lyceum Theatre: www.lyceum.org.uk
A Midsummer Night's Dream www.lyceum.org.uk/whats-on/production/a-midsummer-nights-dream

Citizens Theatre: citz.co.uk
Medea citz.co.uk/whatson/info/medea2012
www.youtube.com/watch?v=ntNgOK4Tzp8&feature=youtu.be

Traverse Thatre: www.traverse.co.uk 
Sex And God www.traverse.co.uk/whats-on/sex-and-god/

Theatre Royal Glasgow: www.atgtickets.com/venues/theatre-royal-glasgow/
Scottish Opera's The magic Flute www.atgtickets.com/shows/scottish-operas-the -magic-flute/theatre-royal-glasgow/


Kings Theatre Glasgow: www.atgtickets.com/venues/kings-theatre/
I Dreamed A Dream www.atgtickets.com/shows/i-dreamed-a-dream/kings-theatre/
********

Task 7

Millennium FX  www.millenniumfx.co.uk
Is Europe's leading supplier of cutting edge special effects.
The company has worked on countless productions, including: The Wolfman, Doctor Who, Being Human.

Millennium FX has an associated training facility, The Neill Gorton prosthetics studio, established in 2003, They offer training for a wide range of purposes. They also run a live character hire events, and offer a range of generic ready made prosthetics to buy.

The History Of makeup Part III

Native America, The Middle Ages, The Renaissance and The Elizabethan Era..

The Aztec culture were not exempt from the usage of makeup, the Aztec priests, warriors and servants would paint their faces when human sacrifices would take place, in honor of their god Huitzilopochtli, their sun god, god of war, and patron to the city of Tenochtilan, the capital of their empire.
Similar practices were followed by the Aboriginal tribes in Australia.

The European Middle Ages followed the Greco-Roman trend of pale faces: Fashionable sixth century women would achieve the look by bleeding themselves, Spanish prostitutes wore pink makeup to contrast with high class womens pale faces.
The use of cosmetics was privilaged for the rich and nobles, the lower classes worked outside, therefore their skin was darker due to exposure to the sun.
Many debate the use of cosmetics to enhance the female appearance during the medieval times. Opinions varied among members of the clergy as to respectability of wearing cosmetics. It was felt that it was generally not a desired state, although it was mentioned that women who had been afflicted with illness and were thereby made unattractive, were excused from the sin of vanity by using cosmetics. The desire to not repel others or their husbands was deemed an acceptable excuse for enhancements.
Studies have shown that women in England "painted their faces white" to achieve a paler looking the  complexion. Women often painted their faces with blaunchet or wheaten flour or used lead-filled cosmetics. It is suggested that "ground Lily root" made powder for faces, although it dose not specify what kind of Lily was recommended one recipe for a flour based cosmetic to whiten the face comes from the L'ornement des Dames in the 13th century: as follows:
Put a very pure wheat in water  for fifteen days, then grind and blend it in the water.
Strain through a cloth, and let it crystallize and evaporate.You will obtain a makeup which will be as white as snow.  When you want to use it, mix it with rosewater, and spread it on your face which has first been washed in warm water. Then dry your face with a cloth.
Many books say that eye colour and eyeliner were available during the Medieval period,but it would seem although  technology to provide eyeliner and eyeshadow was available, fashion dictated that it wasn't used.
The ground leaves of Angelica Angelica Archangelica were the principal ingredient for the manufacture of "ladies red powder". Dried safflowers Cathamum Tinctorius were also used in the making of rouge. In a poem by a monk Montaudon from 1180-1215 AD, the writer stated  that statues of the churches complain to God: "that there is not enough paint left to adorn them because of all the ladies who use rouge and cream".
The Compendium Anglicus from 1240 written by Gilbertus Anglicus, mentions Brazil wood chips soaked in rosewater would give a clear, pink dye which can be rubbed on the cheeks.

During the Renaissance, women strived for pale skin, and used a whitening agent composed of carbonate hydroxide, and lead oxide to create a porcelain-like face. These agents, cumulatively stored in the body with each use, were responsible for numerous physical problems and resulted in some cases in muscle paralysis. During the time of Louis XIV and Queen Elizabeth I, the problem became catastrophic and resulted in many early deaths.
Elizabeth I was a well known user of the white lead and arsenic powder, with this look, Elizabeth I created what is known as "the mask of youth".

 
The favoured application of the upper classes was a makeup called Ceruse, a mixture of white lead and vinegar. Of course this was poisonous! A pale complexion was so desirable that women were bled to achieve this disired look.
An upper class Elizabethan woman followed this fashion further and might even dye her hair yellow with a mixture of Saffron, Cumin seed, Celandine and oil. Expensive dyes as Cochineal was used to redden the cheeks and lips, Madder and Vermilion was also used to achieve this effect. Kohl was used to darken the eyelashes.
Queen Elizabeth also had a variety of wigs and hair pieces- believed to number over eighty, these were often referred to as Periwigs.

To be continued......

Theatrical Halloween

My witch makeup today!!! Going well me thinks!!

The History Of Makeup part II

Old Testament, India, China and Japan:

Makeup was mentioned in the Old Testament. Jezebel, who is a Phoenician Princess, who becomes queen by marrying King Ahab of the Northern Kingdom during the time the nation of Israel was divided into Northern (Israel) and southern (Judah) Kingdoms, is described as a woman who accents her eyes with cosmetics (around 840 BC)

In India, Cosmetics have been used since the IV or V century. Men and Women used coal as a form of eyeshadow.
Vermilion, which is a opaque orangish red pigment derived from powdering cinnabar (mercury sulfhide), was used to colour the cheeks. However, It is Henna, more specifically Mehndi, the art of painting on the hands and feet, which is perhaps the most well-known cosmetic application from this exotic land.
Henna is thought to have "Barakah" or blessings; therefore, it was applied for good luck and beauty. The Henna plant is believed to provide  love and good fortune onto a person, hence it's usage in wedding ceremonies even to this day.
Today, Henna is used as a non permanent alternative to tattooing.

In Ancient China:
Especially in the Tang Dynasty, there were seven steps in cosmetic makeup for the belles: powder base, applying colour to the face, eyebrow darkening, applying "forehead gold" or "floral twinkle/gold", painting the dimples, decorating the cheeks and applying lip colour. It is believed that lip makeup was originally practiced to please the gods in religious occasions. As time passed by, people realized that it could liven up one's spirit and sometimes even could reveal one's social status. As a consequence, different materials for lip beauty products were consequently tested and used to make the lips red and bright, creating the Chinese art of lip makeup. The lip beauty products in ancient China were normally called "lip balm" or "mouth balm", as recorded by the Chinese dictionary shiming (or; Explanation of Names) written by Liu Xi in the Eastern Han Dynasty (AD25-AD220).
Lip balm was not only worn by women during the historic times, the raw material was called Vermillion, (mercuric sulfide- Hgs)
Women who could afford it, would utilize Saffron to create blushes. Saffron is a spice derived from the Saffron flower native to southwest Asia it is cultivated in places such as the Philippiens, India, and Kashmir. For decades, Saffron has been the most expensive spice by weight. Women who could not afford Saffron  would use grass, leaves, and berries to give a green tint to their eyebrows.

    

In Ancient Japan there was a custom of painting the face with red pigments. This primitive use of cosmetics evolved into a more aesthetic approach in the latter half of the sixth century. When rouge powder, and other forms of makeup were imported into Japan along with other aspects of culture from China and Korean peninsula. In 692, a buddhist priest Knojo is said to have been the first to make lead-based face powder in Japan, and delighted Empresss Jito by presenting this new invention to her.
During the Heian period (794-1185), especially after the suspension of Japan's embassies to Tang China, cosmetics in Japan shifted from an imitation of Chinese models to a style more attuned to the Japanese sensibility:
Women wore their hair very long and straight, almost to the floor; applied white face powder, plucked their eyebrows and repainted them higher on the forehead; and blackened their teeth.
By the early Edo period (1600-1868) there were elaborate treatises on etiquette and department for women that also gave detailed instructions on the proper use of cosmetics. During this period cosmetics centered on a palette of three basic colours; red (lip rouge, fingernail polish) white (face powder), and black (tooth-blackener, eyebrow pencil).
During the Edo period women were especially concerned with the application of face powder, for a white skin was regarded as the essence of a beautiful women. Face powder was a white, lead-based pigment dissolved in water and applied with the hands or a broad, flat brush. Pigment for rouge was made primarily from safflowers, and applied to the lips, cheeks, and fingernails. Like face powder, a light application was regarded as a mark of refinement. In the late Edo period, however, there was a fad for heavier application of lipstick for an iridescent effect.
Pigment from fresh safflowers become so expensive it was said to be worth it's weight in gold.
The practice of blackening teeth, a female rite of passage deeply associated with coming of age and marriage since the middle ages, became firmly established from the middle of  the Edo period onwards as a symbol of  a women's married status.

   
The Geisha would use binstuke wax, to put on their faces as a makeup base much the same way we use moisturizer or facial primer today. The traditional makeup for an apprentice Geisha, called Maiko, features a thick white base on the face with blood red lips and red and black accents around the eyes and eyebrows, and to define the nose. The white powder is mixed with water into a paste and applied with a bamboo brush starting from the neck and working upwards, The white makeup covers the face, neck,and chest, with two or three unwhitened areas (forming a w or v shape) left on the nape, to accentuate this traditionally erotic area, and a line of bare skin around the hairline creates the illusion of a mask. After the foundation layer is applied, a sponge is patted all over the face, throat, chest, the nape and neck to remove excess moisture and blend the foundation. Next the eyes and eyebrows are drawn in. Traditionally, charcoal was used, but today modern cosmetics are used. The eyebrows and edges of the eyes are coloured black with a thin charcoal; a Maiko also applies red around her eyes. The lips are filled in using a small brush, the colour comes in a small stick, which is melted in water. Crystallized sugar is then added to give the lips lustre.  Originally, the white base mask worn on the face was made with lead, but after the discovery that it poisoned the skin and caused back problems for the older Geisha, it was replaced with rice powder. Ohaguro, which is a black paint used on the teeth, would be used when Maiko graduated and become an independent Geisha. They would sometimes use bird droppings to complete a lighter hair colour.

To be continued....

The History Of Makeup The beginning part I

Egypt Greece and Rome The beginning Part I

It all began 6000 years ago, and almost every society on Earth has had a part in it and has challenged and reformed the way we view, apply, and research Makeup today.
Makeup was used by both Men and Women in Egypt.
The Egyptians were known for painting their lips either vibrant shade of red or a kind of bluey-black colour.
They also used eyeliner, colors varied when it came to eyeliner, green was used in the time of the Old Kingdom whereas black came into vogue during the New Kingdom era. The green eyeliner was made of green malachite which was found in Sinai, or green copper ore. The black eyeliner was made from a lead sulfide called Galena and came from Gebel-et-Zeit in the desert. Later on, Kohl came to be used which was a fun mix of soot and galena. Until today, this process is pretty much the same as in Egypt for application of Khol- which is basically the same stuff the ancients used. The daily routine with Kohl was used to outline and enhance the eyes and brows, Kohl was applied liberally to the lids, browbone and lower lash line. It was believed that eye makeup could ward off evil spirits and improve sight.
Blush was also used, it was made from red Ochre which was a clay that was naturally tinted. Henna was also popular both for nails and hair.
Unfortunately, many of these cosmetics were potentially dangerous and/or deadly.
Applying the makeup would have been quite a lot of work, It wouldn't have been in small containers like today. They would have had large surfaces with various tools and instruments used to crush and mix things, depending on rank and wealth, tools could range from simple leather pouches and sticks to embellished and bejeweled containers and applicators.
First they would have to grind up their cosmetics and then mix it with fat or water so that it would glide readily on to the skin. Once the makeup was prepared, a wand or stick made of ivory, wood or bone would have been used to apply it.

Ancient Greece:
Cosmetics were an important part of the life and culture of the Ancient Greeks.
Their idea of beauty was pale skin, golden locks and natural makeup and, just like it happens nowadays, they would try everything to achieve it. However, only rich women used makeup in Ancient Greece, which was probably due to it's expensive price.
To lighten their complexions, women would paint their faces with white lead, which was toxic and probably shortened their lives. The alternative to lead was chalk, but that came off easily and quickly. Their lipstick was a paste made with red iron oxide and Ochre clay or olive oil with beeswax. A red powder was also used on the cheeks. Eyeshadows were made with olive oil mixed with ground charcoal. Also, the Ancient Greeks liked connected eyebrows and to achieve this they would decorate their eyes with dark powder.They would take care of their skin by moisturizing it with honey. Olive oil was also used to make their skin shiny.

  The Roman Empire:

Roman attitudes towards cosmetics evolved with the expansion of the empire. The assortment of cosmetics available increased as trade borders expanded, Ideas of beauty from conquered peoples especially the Greeks and Egyptians, greatly influenced the Roman paradigm of beauty.
Although Romans esteemed pale faces (much like the Greeks) a light pink on the cheeks was considered attractive, signifying good health, sources of Rouge included Tyrain vermillion, rose and poppy petals, focus, red chalk, alkante, and crocodile dung. Red Ochre, a more expensive blush, was imported from Belgium and ground against a stone into powder. Despite a widespread knowledge that cinnabar and red lead were poisonous (and still are to this day), they were both still used extensively. Cheap alternatives include mulberry juice and wine dregs.
The ideal eyes, from a Roman perspective were large with long eyelashes. Kohl was the main ingredient  in eye makeup, and was composed of ash or soot and antimony (an element), with saffron usually added to improve the smell. Kohl was applied using a rounded stick made of ivory, glass, bone, or wood that would be dipped in either oil or water first, before being used to apply the kohl. Charred rose petals and date stones could be used to darken the eyes also.
Green eye-shadow came from poisonous malachite (a copper carbonate hydroxide mineral), while blue came from azurite (a deep copper mineral).
The Romans preferred dark eyebrows that almost meet in the center (just like the Greeks), This was achieved by darkening their eyebrows with antimony or soot and then extending them inward. Plucking began in the 1st century BC to tidy their overall look.
Although evidence for the usage of lipstick appears in earlier civilizations, no such evidence has materialized to indicate that the Romans ever used colours on their lips.

to be continued..      

Must Have 2

In the makeup category:
Pro Longwear Concealer is a lightweight fluid concealer with full coverage and a nice matte finish its the best concealer I've used to date, it doesn't even crease under the eye area. At £14.50 it's not too expensive a must have for sure.
I just love this stuff..