Back On Base


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Air Force camp boxers work out Jan. Camp began Jan.

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Skip to main content Press Enter. Home News Article Display. As of Jan. An Airman steps into center ring for an evaluation before his peers during a gym circuit workout. Each boxer works through a series that includes jab, straight punch and hook combinations while maintaining the proper footwork and posture; the basics are reviewed.

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The training is considering an abridged camp that began Jan. Franco said that emphasizing repetition of the basics, instead of just conditioning, is crucial to the performance of his group come fight night.


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And since most of the Airmen are seasoned boxers, at least five bouts heading into the Armed Forces Boxing Championships, he knows most have separate regimens during the offseason. The eight camp boxers are four fewer than last year.

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While the talent pool is smaller, it makes one-on-one instruction easier. Also, after two years of coaching alone, former Air Force boxer Rudy Moreno will join Franco as the assistant coach. Franco continues his lesson in the ring, while Moreno helps Airmen grasp the nuances of the sport, such as glove position during retreat, attack and sidestep movements.

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The success of Next Time Now! This production began its life at the Williamstown Theatre Festival in Massachusetts during the Summer of It came to New York the following Fall, opening in previews on 17 October , and officially opening on 6 November at the off-Broadway Cherry Lane Theatre , where it ran for performances.

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Closer Than Ever features self-contained songs which deal with such diverse topics as security, aging, mid-life crisis , second marriages, working couples, and unrequited love. Maltby and Shire based many of the songs on real-life experiences of their friends, or stories told to them. In September the show had its London stage debut at the Bridewell Theatre.

The production was co-directed by Richard Maltby Jr. In , Maltby began compiling a series of older songs and new song ideas to form an evening of musical short stories, which he labeled the "Urban File". Maltby assembled other cut songs from earlier musicals such as The River , Love Match and The Sap of Life to go with this particular song.

The "Urban File" also contained lyric fragments, musical ideas, song fragments, rhythmic ideas, philosophical observations, and biographical details of friends and acquaintances as potential material for songs. During this time, Maltby was occupied with Song and Dance , and Shire was busy composing film scores, so that the "Urban File" was not a primary project at the time.

In , Lynne Meadow , artistic director of the Manhattan Theatre Club , approached Maltby and Shire to ask for a song for a topical revue on urban themes that director John Tillinger was creating. Maltby showed them his "Urban File", which Tillinger and Meadow found appealing.

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Tillinger had initially planned on only a small amount of music, but after seeing the file, altered his original concept, with the final product being six songs by Maltby and Shire and one song by Edward Kleban. The work was a critical success with both the public and critics. They also wrote "Three Friends" for the revue, but finally did not use it. Katherine Kerr. In the Fall of , the playwright and director and pianist Steven Scott Smith , an assistant to Maltby, approached Maltby and Shire for permission to use the "Urban File," with some other unused songs of theirs, to assemble a cabaret evening consisting entirely of their music.

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