#Odyssey house how to
#Odyssey house registration

Has equipment that is suitable for the curriculum being delivered or to be delivered at the school (clause 2(d) Schedule 7) and Has staffing that is suitable to the age range and level of its students, the curriculum taught at the school, and the size of the school (clause 2(c), Schedule 7 and

Usually provides tuition for 9 or more students who are of or over the age of 5 years but are under the age of 16 years [clause 2(b), Schedule 7) and Has premises that are suitable, as described in clause 3, Schedule 7 and

#Odyssey house registration

The criteria for registration are that the school: More information about ERO reviews of private schools can be found on ERO’s website Private and independent schools | Education Review Office () It’s a piece that is miles from its source material in many ways, but strangely original and unexpectedly impactful.ERO reviews of private schools are significantly different in process and more limited in scope and reporting than those for state and state-integrated schools, focusing as they do on the Criteria for Registration set out in clauses 2 to 6, Schedule 7 of the Education and Training Act 2020.Ĭlause 9, Schedule 7 of the Education and Training Act requires the Education Review Office (ERO) to review private schools and to report to the Secretary for Education on whether each school meets the criteria for registration.

#Odyssey house how to

And an experiment in how to talk about environmental crisis without talking about it working on the senses rather than storytelling, offering nature as its hero, and giving just the slightest possibility of hope. It’s like a meditation, a bleak but strangely powerful one. Sucked into the enveloping swell of Joel Cadbury’s ambient soundtrack, UniVerse seems to be in its own time zone – you have no idea how many minutes have passed. Those images, allowed to linger, are arguably more effective than the dance. And film designer Ravi Deepres provides arresting single images: an oil rig ablaze, a bird washed up on a beach, slowly swallowed by a thick black slick. We get direct words from young poet Isaiah Hull, listing the world’s ills: “The next generation pays the price,” he says in voiceover. Rather than the characterful protagonists that tell the film’s story, the always-impressive dancers from Company Wayne McGregor embody the natural elements: water (or melting icecaps), with bodies flowing snakily and mouths contorted in silent screams earth, signified by beautifully twisting tree roots on their catsuits, the art-meets-avant-garde-fashion costumes designed by Philip Delamore and Alex Box air, with celestial skies and a scene complete with staring eyeball, a nod to oracle Aughra from the film and fire, in which the dancers wear wing-like lacy sleeves, raging through a forest that’s burnt to black.Īrresting images … UniVerse: A Dark Crystal Odyssey. McGregor’s point is that this isn’t fantasy, this is our world. But a picture of a world in peril, yes, that is here, a place with its elements dangerously out of balance on the verge of destruction. There are no fantastical puppets here, no mythical worlds, no sweet elf-like creatures on a quest for a crystal, no obvious division between two sides, the wise and the cruel, goodies and baddies.

T he key thing to know about Wayne McGregor’s new show is that, although it was inspired by Jim Henson’s cult 1982 film The Dark Crystal, it is nothing like The Dark Crystal.