A European insurance company has tendered a €200m Asia ex Japan equity mandate using IPE-Quest.The company behind search QN1451 said it preferred an active management style to invest in large-cap Asian equities.The investor said it expected this to be done with a growth and value investment style bias.Managers should observe a minimum tracking error of 3% against the MSCI AC Asia ex Japan or MSCI EM Asia indices. The insurance company stipulated the tracking error should not extend above 14%.Interested managers must have at least $500m (€390m) in assets under management within the mandate, and $1bn in assets overall.There is a minimum requirement of a three-year track record, although the investor stated a preference for a five-year record for the fund.All requirements for tracking error, assets under management and track records are soft limits.Applicants have until 22 September to apply.Performance should be stated to 30 June and provided gross of fees.The IPE.com news team is unable to answer any further questions about IPE-Quest tender notices to protect the interests of clients conducting the search. To obtain information direct from IPE-Quest, please contact Jayna Vishram on +44 (0) 20 7261 4630 or email [email protected]
Work under the Post Florence Renourishment project continues to progress eastward towards the Summer Winds (Indian Beach), informs the Carteret County Shore Protection Office.According to the county officials, the dredge Liberty Island is now going to be accompanied by the second dredge, the Ellis Island.The second dredge will arrive on the site a couple of days earlier than first scheduled, starting the pumping operations in the 1st week of April.The officials also added that both dredges will work in tandem to complete the Reach 1 in East Emerald Isle.The Post Florence scheme – awarded to the Great Lakes Dredge & Dock Company (GLDD) – will utilize 945,446 cubic yards of sand obtained from the Offshore Dredged Material Disposal Site (ODMDS) associated with Morehead City Federal Navigation Project.Emerald Isle (EI), Indian Beach (IB), and the unincorporated area of Salter Path (SP) will receive 617,131 cy, 271,905 cy, and 56,410 cy, respectively along 5.2 miles of shorelines.The Post Florence Project is scheduled to be completed by April 30, 2019.
Press Association The Ireland international booted all of his team’s points in a 21-16 victory as they came from behind at Stade Pierre Antoine to maintain their perfect start to the European rugby season. “Having the confidence in your team-mates and your squad is really important,” said Toner. “We know that when we get into their half and win a penalty, we have confidence in him to slot it over. “When you get into your opponents’ half, you’re looking to break the gain line or win a penalty – and that’s what happened today.” His sentiment was echoed by scrum-half Isaac Boss, who added: “Mads did very well. We probably gave them a few too many kickable penalties, but they probably won’t be happy they gave us a few too many kickable penalties. “When it’s on a knife-edge, three points makes all the difference. He’s playing very well and took his chances well.” Castres raced into a 7-0 lead after six minutes but Madigan ensured Leinster went into the dressing room at half-time 9-7 up. The home side then went back ahead as they opened up a 16-9 lead midway through the second half but Madigan nailed four further penalties to seal victory and Toner was delighted with the resilience in the team. “It was hard around the breakdown,” he said. “Castres are obviously a massive squad. They love trucking it up, but I think we did well to suffocate them and build pressure and get over the gain line.” He added: “We’re really confident with the squad we have. Obviously, we’ve had a lot of injuries early in the season but I don’t want to use that as an excuse. “We have a talented squad, and talented young lads coming through who are all taking their chances.” Leinster lock Devin Toner heaped praise on team-mate Ian Madigan after the centre kicked the Pro12 side to victory over Top 14 opponents Castres in the European Rugby Champions Cup. Leinster have little time to recover after their French examination as they are back in action at the RDS on Friday when they face Edinburgh in the Pro12. And Boss is glad to be getting back to domestic action after making a 100 per cent start to the European campaign in Pool Two. “We’re happy with where we are at the moment,” he said. “We’re happy to be in the position we are. “But, in professional rugby you’ve got to move quickly – especially this week.”
That’s not a comparison I had expected to make when I walked into the theater, but I don’t think there’s a better one. The performances are exaggerated — the cast goes for more slapstick humor than wit or nuance. There’s a lot of falling over, pantomime fighting and more choreographed dance numbers than I would have expected (there’s only one, but I wasn’t expecting any.) It’s all loud self-caricature, which might have gotten on my nerves had I not been so busy laughing. But when taken all together, the changes add up. The jokes land more often and the lines become less stuffy. The show is grosser and sillier and, at times, dumber than any I have ever seen. And I couldn’t recommend it more. For those of you who did not read it in high school, “A Midsummer Night’s Dream” follows a group of unlucky mortals stuck in a fairy-infested forest outside ancient Athens, Greece. Hermia (Deja Thompson) and Lysander (Sherrick O’Quinn) are fleeing the city to get married, while Hermia’s betrothed Demetrius (Brent Grimes) tries to stop them; Hippolyta (Abigail Coryell) is after Demetrius, who is far more interested in getting his fianceé back; and a troupe of players (led by Austen Parros as Bottom) is attempting to rehearse a play for the duke. The most spectacular performance, though, was Troy Witherspoon’s Oberon. He strutted around the stage with a sort of unnervingly quiet, laid-back anger, as though “Dazed and Confused” era Matthew McConaughey had taken a role as the King of the Faeries. His was certainly a melodramatic turn, but, unlike the rest of the cast, Witherspoon never tried for a laugh. The entire cast does an impressive job, especially considering they’re all performing three separate plays a week as part of their thesis project, but Parros was one of the clear standouts. He has one of the more ostentatious roles, playing Bottom as a scenery-chewing old Hollywood film star. Although hers was a much smaller role, Lea Lanoue got a lot of laughs as another one of the troupe’s inept actors. The School of Dramatic Arts’ MFA class imbued the play with millenial humor to appeal to modern viewers. (Photo courtesy of School of Dramatic Arts) The complicated setup basically boils down to a love triangle (or square, I guess) caused by a misplaced love spell from the fairy Puck (Nona Johnson). Most productions give the proceedings a light-hearted, rom-com vibe, which seems appropriate given the premise. But Professors of Theater Practice Andrei Belgrader and Natsuko Ohama, who adapted the play, chose to do something different: less “Sleepless in Seattle” and more “Wet Hot American Summer.” As in all versions, “Midsummer” folds in on itself at the end; the entire final act is occupied by a play-within-a-play, performed by the troupe of actors rehearsing in the woods. This performance, however, doesn’t just fold — it comes apart, adding new elements to the script. I won’t go into specifics here because you should see it for yourself, but it’s just as strange and funny as the rest of the performance. At times, watching “A Midsummer Night’s Dream” is like sitting through a two-and-a-half-hour sex scene with your parents — painful, awkward and deeply, deeply uncomfortable. I have seen the play twice, across two Shakespeare festivals, and never have I felt more embarrassed while sitting next to strangers in a theater. But, while it may have been horny, chaotic and, yes, occasionally uncomfortable, it was also incredibly funny, joyous and fresh despite the script being well over 400 years old. The students of the School of Dramatic Arts’ Masters of Fine Arts program delivered the most over-the-top rendition I have ever seen. With a show like this one, I can think of no higher praise. Abigail Coryell (above), who plays Tatiana, delivers an electric performance in “A Midsummer Night’s Dream.” (Photo courtesy of School of Dramatic Arts) None of the changes — or performances, for that matter — are radically different on their own. The script is still the same, with only a few anachronistic lines added for comedic effect. The sets are non-existent, like usual, and the costumes fall within the “grab whatever you want from the rack” look of so many Shakespearean productions these days (at least the cast didn’t go for the even more overdone “vaguely military” look.) The play runs on select nights through March 7, sharing the stage with “Father Comes Home from the War” and “Guarded,” both with the same cast.