Linkedin Nicola with her newborn, Isobel (2009) Print A LIMERICK psychotherapist and mother shares her personal experience of a traumatic birth experience and her subsequent healing journey in a new ebook available on Amazon.‘Healing The Pain of A Traumatic Birth Experience’ is written by counsellor and mother of two girls, Nicola Hogg.An experienced psychotherapist in private practice for the past seven years in Ballingarry, she feels that her book is particularly relevant in the context of the fact that Limerick Maternity Hospital now has one of the highest C-section and intervention rates in Ireland.After the arrival of Nicola’s first daughter, Isobel, in 2009 it took her many months to feel like she had worked through her feelings of “loss and trauma” after her difficult birth.“This led me to become interested in other women’s experiences of birth and I discovered that many felt traumatised by their birth experiences but do not speak about it. I believe many women are diagnosed with postnatal depression when in fact the birth experience itself can be the root cause of their intense feelings postnatally”, she said.Over the past number of years, Nicola has found increasing numbers of women coming to her practice with symptoms of post traumatic stress following difficult birth experiences. She said these women’s births would be considered quite ‘routine’ in medical terms but interventions such as episiotomies, induced and prolonged labours and C-sections deeply affect many women.“Counselling can help women to process and then release intense feelings about their birth experiences so that fear of labour/ birth does not become an obstacle in their lives. Talking to an objective and non judgmental counsellor can be a deeply healing experience,” she explained.Nicola felt that there was a need for an accessible book for mothers after difficult births and this led her to write about her own experience as a way of helping other mothers.‘Healing The Pain of A Traumatic Birth Experience’ is available now as an ebook from Amazon. NewsCommunityLimerick mum shares birth experienceBy Rose Rushe – November 15, 2013 1545 Email Facebook Twitter WhatsApp Story by Alan Jacques Sign up for the weekly Limerick Post newsletter Sign Up Previous articleWelsh racecourse raises six figure sum for JTNext articleLimerick roots uncovered in new television series Rose Rushehttp://www.limerickpost.ieCommercial Features and Arts Editor at Limerick Post Advertisement
Sign up for our COVID-19 newsletter to stay up-to-date on the latest coronavirus news throughout New York “West Side Story” had the audience on its feet applauding wildly and shouting bravos after its first Saturday night performance at the John W. Engeman Theater. The musical saga of star-crossed lovers whose Manhattan romance is doomed by cultural discord is not only simply sensational, but the perfect choice for the Northport theater’s 50th production.The show itself has some stellar history too. “West Side Story” first graced Broadway in 1957. It brought together an extraordinarily talented creative team: composer Leonard Bernstein, lyricist Stephen Sondheim, playwright Arthur Laurents, and director and choreographer Jerome Robbins. According to Larry Stempel’s Showtime: A History of the Broadway Musical Theater, the production ushered in a new era by blurring the lines between musical theater and opera while adding social commentary to the mix.Showcasing what many consider to be Bernstein’s finest work, the musical also gave these legendary artists the opportunity to stretch themselves as never before. It was the first time that Sondheim ever wrote lyrics for a Broadway production; for Laurents, it was his first Broadway libretto.If the story line of forbidden love gone terribly awry sounds familiar, it should. “West Side Story” is based on Shakespeare’s “Romeo and Juliet,” which tells of the tragedy ensnaring the romantically linked offspring of two feuding noble families, the Montagues and Capulets. Fast-forward another four centuries to the 1950s, and “West Side Story” is the urban version.Shakespeare’s portrayal of the intoxication and blind innocence of first love countered by senseless rivalry and the unceasing desire for revenge still rings true today. Under Igor Goldin’s masterful direction at the Engeman Theater, the cast brings this New Age Romeo and Juliet, this blend of light and dark, hope and heartache, comedy and despair, to glorious fruition.Set in a blue-collar neighborhood in the Upper West Side in 1957, the venue is far from pretty, yet this forsaken piece of turf bound by brick walls and chain-link fences is the subject of intense rivalry between two street gangs, the Jets, the established white ethnics, and the Sharks, the Puerto Rican newcomers.A dance at a local gymnasium brings the warring gangs together on what is supposedly neutral territory. As the Jets and Sharks assert their superiority by alternately usurping the dance floor, something magical happens. Amidst the whirlwind of frenetic movement, Tony, a Jet, and Maria, the sister of Bernardo, the Shark’s leader, spot each other from across the room and are drawn together like magnets. Both are immediately smitten, but Bernardo has brought Maria from Puerto Rico so she could marry his friend, Chico.While his friends are riveted in the gritty here and now, Tony, played by Zach Trimmer, is dreaming of a better life. Carl Sagan once spoke of the optimistic human belief that there is something marvelous around the corner yet undiscovered, a vision that Tony brings to life when he sings “Something’s Coming.”Later that night, Maria (Samantha Williams) stands on her tenement apartment’s fire escape with Tony below, and the chemistry is palpable. His serenade, “Tonight,” is a joyous prelude to the uncharted territory that is love. Young Williams’ mellifluous singing voice is astounding. Trimmer renders “Maria,” so tenderly that he makes it a fitting tribute to the transformative power of love.Shakespeare liked to alternate between moods in his plays, and “West Side Story” follows his lead, with romance giving way to comedy–before the tragedy you know is coming.In the sardonic song, “America,” Rosalia (Ashley Pérez Flanagan) extols the virtues of Puerto Rico, while the other Shark Girls–Bernardo’s girlfriend, Anita (Karli Dinardo), Francisca (Victoria Casillo) and Marguerita (Ashley Marinelli) counter with wisecracks. The girls are dressed in gorgeous jewel-toned dresses made for swirling and flaunting. The song is incredibly amusing; the dancing spectacular. It’s pure eye candy that delights the heart and the soul. Kudos to Tristan Raines for the costume design.What a cast! Dinardo excels as Anita, the worldly, “older” sister to Maria, who has just come to America and is inexperienced when it comes to the opposite sex. Their close relationship makes their final duet, “A Boy Like That/I Have a Love,” all the more bittersweet.Riff (Sam Wolf) and Bernardo (Nikko Kimzin) are both effectively commanding and conflicted in their roles as respective leaders of the Jets and Sharks who must decide the terms of the rumble that will settle the turf dispute once and for all.The action slowly builds momentum, with anticipation reaching its apex towards the end of Act I, when the whole company gathers to sing “Tonight.” Absolutely breathtaking, it is musical theater at its best.This show demands great choreography, and Jeffry Denman, assisted by Lauren Cannon, and assistant director/fight choreographer, Trey Compton, deliver it big time. Some of the finest dancing is showcased in “Somewhere,” a dreamy, wishful sequence in which Maria and Tony watch dancers dressed in white move blithely across the stage with joyous grace despite the rumble’s tragic ending. As Trimmer, Williams and company sing, Ashley Pérez Flanagan gives an outstanding solo that further lights up this poignant scene.Also worthy of mention is the hilarious song, “Gee, Officer Krupke,” featuring the well-choregraphed antics of Action (Scott Shedenhelm) and the rest of the Jets. In Act II, it offers needed comic relief as the world that these young adults know starts to spiral out of control.As always, the band at the Engeman, led by musical director James Olmstead on keyboard, is topnotch and does full justice to Bernstein’s musical genius. The music and lyrics linger on long after you leave the theater.“West Side Story” runs through November 8, but the popular show will likely sell out soon. The John W. Engeman Theater is located at 250 Main St., Northport. For more information, call (631) 261-2900 or by visit www.engemantheater.com.
“Previously, quite a lot of the disclosure requirements were driven by legislative rather than accounting requirements.“As the accounting requirements have developed, the legislative requirements have become more unnecessary and outdated, so it now makes sense to align the two.”Kevin Clark, an associate partner at KPMG in the UK, added that the way was now clear for pension schemes to take a more focused approach to pension scheme investment disclosures.“It is the start of an exciting new era,” he said. “It draws a line under rule changes and sees us move into an era of more relevant and meaningful reporting for pensions schemes.”Clark chairs the Pensions Research Accountants Group working party, which identified the need to remove the now outdated disclosure regulations.He added: “It enables us to take full advantage of the principles-based disclosure regime in FRS 102 and the SORP guidance.“This encourages trustees and scheme accountants to make the most meaningful disclosures possible in scheme accounts based on investment strategy.”The removal of the disclosures follows a recent consultation by the DWP.That process was prompted by the decision of the UK’s audit regulator, the Financial Reporting Council (FRC), to embark on a major project to consolidate UK GAAP into a single accounting standard, FRS 102.This move forced the FRC to update the Statement of Recommended Practice (SORP) that governs pension fund disclosures.Although FRS 102, a modified version of the International Financial Reporting Standard for Small and Medium-sized Entities, deals with pensions accounting, the SORP provides a layer of recommended practice on top of that.Since the last update to the SORP in 2007, the UK pensions landscape has seen the introduction of auto-enrolment and a growing number of pension schemes entering the Pension Protection Fund.The FRC’s actions left the DWP’s investment disclosures largely redundant.“We very much welcome the change in legislation,” Clark said, “because it clears the decks for the new disclosures that come in under FRS 102 and the revised SORP.“We don’t have the double whammy of having to deal with the new disclosures and the historic disclosures, which were widely recognised as being no longer fit for purpose.“Most schemes are moving into their end of March reporting, and this change means any accounts signed after this date, even if they reference the 31 December year-end, can take advantage of the removal of the disclosures.”Meanwhile, the FRC has announced it wants to receive comments on FRS 102 ahead of reviewing the standard in 2018.In a statement, FRC director Melanie McLaren said: “[W]e are providing an opportunity, now, for those interested in financial reporting to give feedback as they are preparing their first financial statements complying with the new standards.“Providing feedback this year will be an important first stage in shaping the future development of the standards.” The UK Department for Work and Pensions (DWP) has published new regulations that remove the need for UK pension funds to make what many experts see as largely redundant investment disclosures.The new disclosure regime takes effect from 1 April and affects disclosures by pension funds rather than corporate scheme sponsors.Advisers who spoke to IPE welcomed the move, not least because it aligns the statutory disclosure regime with UK GAAP.Philip Briggs, a partner in RSM’s pensions group, said: “This is a positive move to reduce the red tape surrounding disclosure requirements for pension schemes.