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The epic and audacious adventures of the nautilus! and her gallant crew in the 19th century (6 book s - Amazon.com: The Epic and Audacious Adventures of the.



Geoff Page’s script actually begins slightly before Homer’s tale, helpfully explaining the background to the Trojan War and the myth of the Golden Apple to those unfamiliarly with the premise. From there, Odysseus endeavours to return home to Ithaca but faces many trials and tribulations along the way. The script is witty and enthralling, keeping the show family-friendly whilst still successfully dealing with the more adult parts of the original epic. Complementing the script is a strong libretto, with many stand-out numbers that allow individuals to shine whilst providing ample opportunity for all 31 members of the cast to enhance the show.

Director Pete Sayer has done a wonderful job keeping the show together. In lesser hands, the stage would have seemed crowded and far too busy, but cast members slickly leave and re-join the stage at appropriate moments without the slightest interruption to the pacing. Sophie Price’s colourful artwork projections round off an incredible production, providing a colourful backdrop well in line with the light-heartedness of the script.

James Beagon is an award-winning playwright and director, and founder of Edinburgh-based group Aulos Productions. He is also a professional Youth Theatre Tutor with East Lothian Youth Theatre & Strange Town Theatre Company. He is delighted to be returning as the Children's Shows section editor for the Edinburgh Fringe once more.

Geoff Page’s script actually begins slightly before Homer’s tale, helpfully explaining the background to the Trojan War and the myth of the Golden Apple to those unfamiliarly with the premise. From there, Odysseus endeavours to return home to Ithaca but faces many trials and tribulations along the way. The script is witty and enthralling, keeping the show family-friendly whilst still successfully dealing with the more adult parts of the original epic. Complementing the script is a strong libretto, with many stand-out numbers that allow individuals to shine whilst providing ample opportunity for all 31 members of the cast to enhance the show.

Director Pete Sayer has done a wonderful job keeping the show together. In lesser hands, the stage would have seemed crowded and far too busy, but cast members slickly leave and re-join the stage at appropriate moments without the slightest interruption to the pacing. Sophie Price’s colourful artwork projections round off an incredible production, providing a colourful backdrop well in line with the light-heartedness of the script.

James Beagon is an award-winning playwright and director, and founder of Edinburgh-based group Aulos Productions. He is also a professional Youth Theatre Tutor with East Lothian Youth Theatre & Strange Town Theatre Company. He is delighted to be returning as the Children's Shows section editor for the Edinburgh Fringe once more.

The Audacious is also a favorite of system defense forces, as the SDFs prefer to rely on smaller yet more advanced warships due to their limited funds and manpower.

The standard Audacious class was equipped with advanced communications and targeting systems to increase efficiency. It possessed three engines, which were not connected to each other and could continue to operate independently if one or two were damaged. For offense, it possessed several cannons on the front, along with two to four torpedo launching tubes. The cruiser had thirty to thirty-five cannons and lances on both the starboard and port sides of the ship, along with several missile launchers on the nacelles of two of it's engines (one on each side). Different variants had additional lances and torpedo launchers on the sides and bottom of the hull.

Its armor is not as thick as some other vessels but it does have advanced shielding. The standard design is thought to have seven or eight layers of armor of various metals. In addition, its offensive complement included launch bays could carry up to 48 Attack Craft.


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