Tag Archives: Entertainment

The Muppets Meet The News At Ten: How a New Kids News Show is Bringing Positivity Back to TV.

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How Puppets and Positivity are Changing Kids TV.

There my kids are again: sitting in front of their screens, their faces bathed in the flickering lights of colourful videos. Frenetic and yet,… empty.

I’m working because I must. I’m tidying or washing up or sorting laundry. I’m unable to follow what they see.

Somewhere in the next room I hear the inane chorus of fast-food “content” being funnelled into the eyes and ears of my little ones and I wither in guilt.

What withers me more, however, are the moments when my kids ask me about the wars and tragedies that they hear about – things they’ve heard in the playground or have caught on the nightly news. Sometimes I have to catch myself from talking about the dire state of the world over the dinner table, in case they hear. And they do.

Is this the world as they see it? Either dumbed-down nonsense or an overbearing sense of hopelessness? Because that seems to be the world they’re presented with.

It occurred to me that we should be doing better. So I set out to make it happen.

I’ve been putting together stage shows for nearly 30 years – most of those for family audiences. I’ve scripted, cast, produced and toured theatres, streets and schools. So, when the pandemic hit and work dried up, I set myself to thinking what kind of screen-based kids show I wanted to make. 

Many ideas came and went, funding popped up and dropped away and nothing much seemed to come together until, one day, in 2023, I was talking to a producer friend when I happened to muse “why aren’t there any news programmes just talking about all the good stuff that’s happening?”

My friend jumped at this.

“YOU should make it!!” he said.

I blinked. Then frowned. Then smiled.

“Okay.”

Within a month I’d created a pitch document and commissioned two new puppets.

By the end of the year, my partner and I had shot a full pilot and started gathering audience feedback. It was universally positive.

“Al and Kai’s Faboo News” was off the starting blocks and now it’s running.

A cross between The Muppets and News At Ten, Al and Kai’s Faboo News is a frantic and 25 minutes of News Stories, Activities, Facts, Jokes and Shadow Puppet Storytelling – wrapped up in Muppet-esque Comedy.

Puppets Al and Kai explore news stories about science, the environment and people doing positive things in the world. They then use these stories as inspiration for exploring our planet and our people to show child viewers that there’s so much more to planet earth than they see and hear elsewhere.

Since screens first invaded our world, parents have shared their child entertainment duties. The BBC began programming TV for child audiences from the very start, seeking to educate and entertain.

Today, however, Kids TV is in the doldrums, with fewer and fewer original programmes and far less focus on quality and education in the shows themselves. More and more, kids find their entertainment online.

We aim to take our place in this online sphere and show that Kids Content doesn’t need to be “fast food” – it can be something more.

Now, when I find myself doing housework when the kids get back from school, I find my little ones asking to watch Al and Kai, because they want to learn more about the world.

We want to make more, however. We want to keep this running and running far into the future so kids across the world get to see that things aren’t quite as bad as they fear. 

We’ve set up a crowdfund to pay for an initial series of 24 episodes – you can find it at https://www.indiegogo.com/projects/al-and-kai-s-faboo-news-positive-news-for-kids#/ or by visiting http://alandkai.com 

We’re looking for parents, just like us, who want to promote healthier, more positive and enriching TV for their children to enjoy. We’re looking for people to join the Faboo Crew and help bring this show to life for longer.

Kids TV doesn’t need to be Fast Food and it doesn’t need to be negative. 

It’s time we did better.

REVIEW: Pinocchio, Chichester Festival Theatre

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Photo credit: Manuel Harlan

 

 

 

 

 

 

That any live theatre has gone ahead this December is a Christmas miracle in itself. In Chichester’s annual Youth Theatre production, however, there is a double dose of wonder; against all the virus-related odds the show has not only gone on, but it’s an absolute belter.

Usually boasting a cast of almost one-hundred, in order to manage social distancing this year’s CFYT offering is presented by two smaller teams of twenty-three, with Team Fox and Team Cat splitting the performances. (On Press Night Team Fox were performing, but I am reliably informed that Team Cat are every bit as accomplished.) Directing a full-scale production to meet the pandemic’s stringent safety measures, on and off the stage, is an extraordinary feat of choreography, and one that all those involved in achieving must be congratulated.

Hope, redemption and realising that our differences can be strengths rather than weaknesses are themes that run through this abridged version of Carlo Collodi’s original tale, which has been superbly adapted by Anna Ledwich. Managing to be gloriously heart-warming without straying into sentimentality, Director Dale Rooks has infused Pinocchio with emotions and moments that truly resonate. One such instance is when Pinocchio and Geppetto ‘hug’. Standing apart, they wrap their arms around their own bodies, bringing a lump to the throat and an ache to the heart – oh to hug again!

On stage there’s not a single below par performance. Archie Elliot (Lewis Renninson) in the title role plays the headstrong little puppet with absolute conviction. Pinocchio may be made from wood but he has guts, heart and spirit, ensuring that we are rooting for him all the way. Alfie Ayling (Jack Campbell) as Geppetto is warm and wistful, playing the lonely carpenter with a maturity beyond his years.

There is excellent work too from Meg Bewley (Molly Berry) as the Fairy and Annalise Bradbury (Olivia Dickens) as Cricket, her exasperated sidekick. Marvellous cameo gems include Alex Webb (Noah Peirson) as a chatty French poodle – très magnifique!

The ensemble work is extraordinary. Matching talent with energy,  it is ultimately in the production’s togetherness that its success lies. A masterclass in how a completely cohesive company can create something magical, the story flows perfectly, the singing and dancing are stunning and the set, simple but oh-so clever, is breath taking.

The overall effect is wonderfully uplifting. Moreover, there is a sense of the fantastic; a promise of enchantment. And it delivers. With Christmas bells on.

Vicky Edwards

The Folio Society’s Top 10 Books for Social Distancing

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As the UK continues in this unprecedented period of social distancing, more and more people are looking for productive ways to spend their time at home. On the top of many people’s lists, no doubt, is reading new books that they may not have gotten around to. Reading has many benefits and has been proven to help reduce stress and boost wellbeing.

 

To help book-loving Brits find their next read, Tom Walker, Publishing Director at The Folio Society, who, for over 70 years, has been publishing beautifully illustrated editions of the world’s greatest fiction books as well as thoroughly picture-researched non-fiction books, has pulled together his top 10 picks of books to read whilst in self-isolation.

 

The Tenant of Wildfell Hall

Being stuck at home and only allowed out to go to the shops seems a good time to read about feminism, and this is arguably the first feminist novel. Wildly surprising in its modern sensibility, Brontë rages against a society that held women shackled to men and the home.

 

The Little Prince

I can’t help thinking of how the Little prince would respond to our world right now. An enigmatic, compassionate but sad creature of the stars, I sometimes imagine the weight of his judgement on us all for the job we’re doing of keeping our little planet safe.

 

The World Turned Upside Down

The English Civil War of the 1640s shook the nation to its core, and in the process out scattered a legion of radical ideas and philosophies which have formed the national identity ever since. One wonders how our current upheaval will reshape us.

 

Dr Zhivago

What better time to re-engage with this great Russian epic? The recent translation by Boris Pasternak’s nephew returns the lyricism and colour to this beautiful novel of love, war and the Russian soul.

 

Moby-Dick

What an opportunity, if you never have, to read this bulking leviathan of a novel. From the first pages in Nantucket, where Ishmael befriends trusty Queequeg, Melville loops his crazed tale of ambition and revenge, culminating in scenes of terror on the high seas.

 

His Dark Materials

Pullman might be the purest storyteller of our times, and His Dark Materials is his masterpiece: a truly addictive adventure story which leads us into other worlds.
Handmaid’s Tale

Turning to Margaret Atwood in times of trouble is always a good decision. Prophetic or not she is wise and compassionate, and laces those qualities with a killer wit.

 

Maigret

If all else fails, pick up a Maigret. With plots as light as a feather and a stripped-down style, Simenon’s thrillers are beautifully evocative of the underground tensions of a mid-century Paris.

 

Persuasion

It’s always a good time to re-read Austen, to get lost in that luscious prose and arch wit. Persuasion is her last-completed, and perhaps her most mature novel, and a joy to revisit.

 

I am Legend

In the current circumstances this is not a book for the faint-hearted: Matheson’s vision of a post pandemic future doesn’t contain many people, and even fewer who are not zombie-vampires, but there is a glimmer of hope at its end…

 

Mirror & The Light

My eleventh choice is not yet available as a Folio Society edition, but I do hope that it will be one day. This is my current quarantine reading. A nine-hundred-page masterwork of astonishing delicacy and intelligence which draws one back through the eyes of Cromwell to a Tudor London infested with plague and political instability.

 

 

The Butterfly Lion: Review

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The Butterfly Lion
Minerva Theatre, Chichester
Until 15 November
www.cft.org.uk

Photo credit: Manuel Harlan

Theatrical storytelling at its finest, the importance of treasuring memories is a central theme in this superb adaptation of Michael Morpurgo’s book – a theme that is perfectly reflected in Simon Higlett’s dreamy set. Enhanced by a crack creative team (lighting by Johanna Town, sound by Gregory Clarke and video by Simon Wainright), the play’s journey, which traverses the wilds of South Africa to rural England and the battlefields of France, is a collective design triumph.

Jonathan Dryden Taylor as Michael Morpurgo himself is the story’s guide. Meandering down memory lane, his narration melts seamlessly into the action, sweeping you along for the ride and inspiring a sense of old snapshots coming to life.

All the performances are accomplished. With skill beyond their years the youngsters playing the junior versions of the adult characters don’t miss so much as the subtlest nuance.

The adult cast, many of whom play multiple roles, are equally adept. Effortlessly slipping from character to character, the scenes at the watering hole, in which they take on animal personas, are especially impressive.

Director Dale Rooks has invested such care that not even the smallest detail falls short. Making it feel as if you are watching a labour of love rather than simply an extremely polished production; her Butterfly Lion has palpable heart and soul. It makes the heart sing.

Complemented by Tom Brady’s atmospheric music, Anna Ledwich’s adaption is sensitively and elegantly done. Clearly meeting with the approval of the book’s author, who on Press Night was in the audience, Mr Morpurgo looked proud fit to burst. He deserved to.

Play Up, Malory Towers!

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As the first ever stage production of Enid Blyton’s Malory Towers embarks on a national tour, Director Emma Rice tells Vicky Edwards why these classic stories are an enduring delight…

I’ve always thought optimism a lovely trait. Not only do the ‘glass half full’ brigade seem better equipped to withstand life’s slings and arrows, but their sanguinity is also marvellously contagious; even die-hard Eeyores struggle to maintain despondency when in the company of a fully-buoyant bright-sider. In literature, Malory Towers is the epitome of optimism. Nobody better, therefore, to adapt the original work and direct it than Wise Children’s super-sunny Emma Rice.

Co-produced with York Theatre Royal in association with Bristol Old Vic, and officially licensed by Enid Blyton Entertainment, a division of Hachette Children’s Group (HCG), Malory Towers is the original post war ‘Girl Power’ story. The high jinks of pupils at the Cornish boarding school have thrilled readers ever since the first story was published in 1946 – didn’t we all yearn to join in the midnight feasts and yell ‘Play Up, Malory Towers!’ at nail-biting lacrosse matches? The books remain hugely popular, with new generations devouring them and dreaming of being sent away to boarding school with an overflowing tuck box.

 

Emma Rice credit Steve Tanner

“But there is plenty for boys too,” urges Emma, in exuberant form after a productive week of rehearsals. “The only thing that would disappoint me would be if people didn’t bring their boys,” she added, promising a show that delivers plenty of thrills and spills.

“The animation is fantastic – we see the train arriving at the Cornish coast – and then there is a real cliff hanger just before the interval. We have just been rehearsing that bit today and it’s like Ben Hur!”

Described as ‘nostalgic, naughty and perfect for now,’ what initially appealed to Emma about the project?

“The Malory Towers books are great stories filled with great characters who don’t seem to age at all. It is very hopeful and I think that is right for now. I call it my happy Lord of the Flies: when left to their own devices, a group of girls decide to be the best version of themselves they possibly can be. They want to change the world and be women the world can lean on; they want to resolve conflict. They never talk about boys and they aren’t boring!”

Interestingly, Emma is a relatively new convert to Blyton’s best-loved school stories.

“I’ve worked with David [producer David Pugh] many times. He has great taste and he knows me so well, damn him!”
Laughing, she recalled how David piqued her interest by wooing her with a vintage set of the books, beautifully wrapped in brown paper.

“As soon as I read the first one I just knew they would make a great piece of theatre. They’re such page turners, the characters are so well observed and the powerful feminine voice comes through with such positivity.”

Anyone familiar with Emma’s work will know that music is an integral part of her productions.

“There is always lots of music with me,” she agreed cheerfully, “but I wanted the music in Malory Towers to be virtuosic; simple, but showing how rich the world is. There are some new compositions by Ian Ross and it’s a real musical feast,” she teased; “and it has got fantastic dancing, too. The choreography is incredible. I wanted my Malory Towers to be like Busby Berkeley, but in an earthy, feminist way!”

If the music is a feast then the actors Emma has assembled are a veritable banquet (‘simply top hole,’ as Darrell and her chums might say), and, refreshingly, it was achieved through a ‘character-over-looks’ approach to casting.

“For me, casting is always about getting the right personalities and the people who absolutely capture the spirit of the characters.” As proud as a Head Teacher with an intake of straight ‘A’ students, she adds: “My company comprises a range of actors with different backgrounds.

Gymslip clad, Emma’s performers will transport audiences to 1950s Cornwall where Darrell Rivers is embarking on her Malory Towers adventure. Bright, loyal and big-hearted, her fast and fiery temper is something she must learn to master. And, while she’s about it, can she save the school play and rescue terrified Mary Lou from the grip of a raging storm? Crikey!

But amid all the drama and japes runs Emma’s affection and regard for the generation of women who taught in schools in the wake of warfare.

“With lives shaped by the savagery of two wars, they devoted themselves to the education and nurture of other women. My Malory Towers is for them, and also for the two generations of men that died in those same wars, leaving us with the freedom to lead meaningful, safe and empowered lives. And it is for Clement Attlee and his Labour government of 1945 who looked into the face of evil and chose to do what was right. These people changed the political landscape in their focus on care, compassion and the common good. Malory Towers was written at the heart of this political revolution, and embodies a kindness, hope and love of life that knocks my socks off.”

Something else Emma is passionate about is the work of her company, Wise Children.

“We want to make fantastic world class ensemble theatre based on storytelling techniques that I have developed over my career, and at the same time teach the next generation of creative theatre makers. And we want to create access for people who might not be able to access theatre training,” she told me, explaining that there are free places given to those for whom such aspirations would otherwise be impossible.

Vowing to raid my daughter’s bookshelf and get reacquainted with Blyton’s finest work, on my way home I imagined what Miss Grayling’s comment on Emma’s end of term report might have been:

‘A splendid Head Girl who can surely be depended upon to lead Malory Towers to victory. Jolly good show, Emma!’

©Vicky Edwards

Shadowlands Chichester Festival Theatre: review

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Photo-Manuel-Harlan

Revered author of The Chronicles of Narnia, C.S Lewis (Jack) was also a leading Oxford professor. Setting out his stall right at the start of William Nicholson’s award-winning play, from the lecture podium he offers the theory that only through suffering can we comprehend God’s love absolutely.

Sharing a companionable domestic set-up with brother Warnie, where ‘down time’ consists of philosophical enquiry over a pint in the local with other scholars, it is a sedate and gentle existence.

Enter American writer Joy Gresham. Forthright, brash and with a young son in tow, when it becomes apparent that she needs British citizenship in order to remain in England Jack offers her a ‘technical’ registry office marriage. Soon after, Joy is diagnosed with cancer. Only then, fear and shock forcing his emotional intelligence to catch up with his academic prowess, does he realise that he truly loves her. Insisting on a ‘for real’ bedside wedding ceremony, Joy’s terminal diagnosis also reopens the painful wound of losing his mother to cancer as a boy.

Hugh Bonneville and Liz White inhabit the characters with such conviction that I doubt that I was alone in dabbing my eyes. Equally, the humour is delivered with panache and precision timing.

A terrific supporting cast includes Timothy Watson as Professor Riley, Andrew Havill as Warnie and Emilio Doorgasingh as Rev. Harrington. The role of nine-year-old Douglas Gresham is shared between two boys and on press night Eddie Martin acquitted himself with honours.

Peter McKintosh’s set is both beautiful and clever. Facilitating seamlessly fluid scene changes – vignettes of stylish choreography in their own right – glimpses of Narnia are dreamy and wistful.

Photo-Manuel-Harlan

Nicholson’s play may be nigh on thirty years old but Rachel Kavanaugh’s elegant revival hits home because the universal truth surrounding love and loss does not date: Tis better to have loved and lost than never to have loved at all.

In his exquisite book A Grief Observed C.S Lewis might have been countering Tennyson’s affirmation with a reminder that the poet’s romantic theory still demands a steep price: “The death of a beloved is an amputation.”

A stunning start to the Festival season.

At Chichester Festival Theatre until 25 May.

Tickets: 01243 781312 www.cft.org.uk

Splurging in Southsea

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Actor and director Carl Sanderson is spending the Easter holidays splurging. On an epic scale. Directing a brand new production of Bugsy Malone at the Kings Theatre, Southsea, his cast is drawn from no less than 23 local schools. Vicky Edwards snuck backstage to chat to him and to ask if directing such a big show was on par with herding squirrels…

“So far directing the show has been an absolute dream. The cast are so committed and although we are having great fun in the rehearsal room they know there is a lot of work to do in a relatively short rehearsal period so they are being incredibly professional and sensitive to this. “We have some fabulous characters who are bringing so much to the table,” says Carl, who says that he especially enjoys the collaborative aspect of directing large-scale productions.

“I love directing shows on this sort of scale as apart from the work created by the actors, the choreographer and the musical director in the rehearsal room, it is very much a collaboration between all departments at the theatre; stage management, wardrobe, administration staff and producer – everyone. Oh, and a special mention to our fabulous chaperones who do an amazing job looking after the actors. And to my incredible assistant Charlotte!”

As for the show itself, Carl is clear about what makes Bugsy Malone such a great show for children to participate in.

 

“Bugsy is such a great show for children as they get to kind of pastiche adults which is incredibly funny without them having to do much! Also there is the small matter of SPLURGE GUNS which as you can imagine they absolutely love! I mean, what kid doesn’t like getting messy?”

Explaining that as a child he relished every opportunity to be involved in performing, one of his first roles was in the very show he is currently at the helm of.

“One of my first parts was The Great Marbini in Bugsy Malone at school! I was heavily involved in local amateur theatre as a youngster and at the age of 15 became a member of the National Youth Theatre and spent my summers in London performing in various shows.

Going on to build a successful career that spans 20 years, has worked on numerous productions in the West End and at some of the country’s most prestigious theatres, as well as on TV and in films including That Day We Sang and The Dresser. Juggling his acting career with teaching, he has taught in many theatre schools specialising in acting through song and musical theatre stylistic studies and is a passionate supporter of the Arts being taught in all schools.

“Many of the kids in our show may never decide to take up performing as a career in the future, although they are all incredibly talented. But being part of a project like this does so much for their confidence and personal development. This is why I think the Arts in general are so important in schools and that there gradual disappearance from school curriculum is a crying shame!” he laments, echoing the cry of many teachers and parents throughout the land.

As for Bugsy Malone, which is set in 1929, audiences can expect to be taken on a thrilling pedal car ride through the splurge soaked backstreets of New York City. Delving into the underground world of would-be hoodlums, glamorous showgirls and hapless gangsters, Bugsy is a part time boxing promoter, down on his luck and striving for a better life. He meets Blousey Brown, an aspiring singer, and together they enter this fast paced, exciting and hilarious story of Fat Sam, Dandy Dan, Tallulah and a whole host of other weird and wonderful characters.

“Alan Parker’s film is nothing short of genius and was originally created from an idea thought up by his eldest son. The later stage adaptation was published after so many requests from schools and youth theatres to perform his iconic tale. Equally wonderful is Paul Williams unforgettable score and lyrics,” says Carl, adding:

“Although this production is firmly rooted in a time of American prohibition I hope we have managed to inject some contemporary elements that will make this fabulous pint sized roller coaster ride of a story relevant for today.”

So if you’re looking for family fun in this neck of the woods this Easter holiday Bugsy Malone could be just the ticket?

“You’ll have a wonderful evening in a beautiful theatre and I sincerely hope you don’t get splurged!” he says with a broad grin.

Bugsy Malone is at The Kings Theatre, Southsea, from 17-20 April 2019.
www.kingsportsmouth.co.uk

About the show

Kings Theatre Portsmouth are proud to present a brand-new production of the landmark musical Bugsy Malone from 17-20 April 2019.

The classic tale takes us into the world of street-tough boxing promoter Bugsy – a world run by kids, where cars are peddle-driven and tommy guns ‘splurge’ custard.

We follow Bugsy’s star-crossed love with singer Blousey Brown (over the attentions of her glamorous rival Tallulah), and his pivotal role in the struggle between the rival mob factions of Fat Sam and Dandy Dan.

Bugsy Malone will be performed by a cast entirely made up of children from twenty-three schools across Portsmouth.

The show will be directed by Carl Sanderson, whose previous credits include West End Productions and National Tours of The Phantom of the Opera Cats, Hairspray and Sunset Boulevard.

Choreographer Jacqueline Willis has worked on major productions around the country including Kings Theatre Portsmouth stagings of 9 to 5, Grease, Annie and The Wizard of Oz and Andrew Woodford is Musical Director, with previous credits including Oliver!, Cinderella, Disney’s Beauty and the Beast and Oklahoma!.

Bugsy Malone will be co-produced by Jack Edwards. As a performer Jack has acted in the West End and on national tours in productions such as Guys and Dolls, Mack and Mabel, The Rocky Horror Show and Oliver! and in recent years has gained a cult fan base in his home city of Portsmouth for his uproarious performances in the Kings Theatre’s much loved Pantos (even becoming something of a viral sensation for his role as the Dame in Cinderella).

In producing Bugsy, Jack will also be assuming the role of creative director of The Kings Theatre Portsmouth, where he will contribute to programming, as well as commissioning, producing and directing future Kings Theatre Productions.

Fernando Alonso Celebrates His F1 Retirement At Amber Lounge Abu Dhabi

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Abu Dhabi Grand Prix, 24 & 25 November, 11pm-6am
Amber Lounge Abu Dhabi, Yas Links Golf Club, Yas Island, Abu Dhabi

It was a night that will go down in history as Amber Lounge welcomed the Formula 1 drivers, teams and party-loving international guests for the celebration of the year.

Photo credit:  Amber Lounge

F1 drivers entered Amber Lounge’s luxury oasis on Sunday night and let their hair down for one of the greatest end-of-season parties to date. Fernando Alonso, departing from the Championship after 17 years, was joined by his fellow drivers Max Verstappen, Kevin Magnussen, Carlos Sainz, Esteban Ocon, Pierre Gasly, Stoffel Vandoorne, Marcus Ericsson, Brendon Hartley, Sergey Sirotkin, Antonio Gionivazzi.

International cricketer Chris Gayle and former pro football player Michael Brown were also spotted in the crowd.

Photo credit:  Amber Lounge

When the time came to say goodbye to the Spaniard, the club plunged into darkness for the ‘Black Out’ moment, then lit up with 17 specially designed bottles of Moët Champagne filled with sparklers and flashing lights. Each bottle signified a year he has competed in Formula 1.

Emotions ran high as Sigala announced the exclusive bottle moment which was delivered in true Amber Lounge style, fueling the euphoric atmosphere. Joining Sigala on stage Alonso soaked up the elated vibes as the superstar DJ revved up the ecstatic crowd with an ultra-energetic performance. 

Photo credit:  Amber Lounge

To add to the electric energy, the Grey Goose bar illuminated the exclusive party. The ‘For The Hunters’ inspired terrace area was a favourite for partygoers after a chic but relaxing vibe.

Max Verstappen

Kevin Magnussen

Esteban Ocon

Sergey Sirotki

Marcus Ericsson

Fernando Alonso

Photo credits: Amber Lounge

Amber Lounge will be back in 2019 bigger and better than ever, with parties and luxury events and experiences both inside and outside F1. The next event, Amber Lounge Monaco on May 24th, 25th and 26th, will offer the ultimate in luxury race viewing on the trackside Celebrity Yachts, terraces or Paddock Clubs combined with a unique party experience and Amber Lounge Charity Fashion Show.

Sonia Irvine said: “It was one of the most incredible nights we’ve ever had at Amber Lounge. Although it was sad to see a much-loved driver as Fernando end his career in F1, we were honoured to hold the official celebrations for him. I think what we created was worthy of an F1 legend.”

Photo credits: Amber lounge

For more information on Amber Lounge, visit: http://www.amber-lounge.com/abu-dhabi 
To book tickets and tables, call: +971 55 291 4013 or contact abudhabi@amber-lounge.com

About Amber Lounge…

Amber Lounge was founded by Sonia Irvine, who has worked in F1 for two decades. Sonia is regarded as a pioneer of F1 nightlife experiences and continues to create the most sought-after events on the F1 calendar.

The Amber Lounge experience consists of Formula 1 race viewing hospitality options as well as post-race afterparties, dining, charity, fashion and tailor-made events throughout the year. In 2018 it took place in Monaco, Singapore and Abu Dhabi. http://amber-lounge.com/index.php/tickets/

AMBER LOUNGE 2018/2019 EVENT SCHEDULE
Abu Dhabi 24/25 November | Monaco 24/25/26 May 2019 | Singapore 21/22 September 2019