La bete golf course scorecard

scorecard, weather, reviews, and ratings Two courses are here - "La Belle" and "La Bête Golf Gray Rocks - La Bete. Or (Gold), / Bleu. Scorecard. REGULAR – From open to twilight, 7 days a week. TWILIGHT – The start of Twilight time varies throughout the season, and is adjusted as of the. Gray Rocks Golf- La Belle Course is an hole golf course in Mont-Tremblant, QC. See the scorecard, la bete golf course scorecard layout, player reviews, and prepare for your. Golf Manitou in Mont Tremblant, Quebec: details, stats, scorecard, course layout, photos, reviews.

Gray Rocks Resort - La Bete

James Lee Barrett was the re-write man, and was awarded the credit. Andrew V. McLaglen directed competently but with no particular distinction, which seems to be about the best that can ever be said of him. Just as it is nearly impossible to express to people younger than me, and who have grown up with the series, what a complete phenomenon Star Wars was when it was released in and why its approach to well-worn narrative traditions was so shockingly new and different, it would be almost equally difficult to adequately explain to the young of today how a movie based on a Shakespeare tragedy could, in , become such an international sensation.

It should be understood that, prior to Zeffirelli, no other cinematic edition and there had been many of this play about the doomed romance between the year-old Veronan and his year-old paramour had anything close to age-appropriate actors in the leading roles. The director is especially good at the scenes of violence, making excellent use of the summer heat and dust that cause tempers to easily flare and then boil over.

Olivier also dubbed Montague and, reportedly, other roles as well. In that form the song was, for some time, unavoidable; even as late as my sixth-grade choral director had us singing it, and it was still a popular wedding tune among young couples. These are the ones that hurt the most, but there was, as there always is, plenty of only slightly lesser tristesse to go around in Movie Industry Ron W.

Miller , Speaking of Disney. When a greeting card company in Ohio attempted a hostile takeover that backfired Disney ended up owning them , Michael Eisner was in and Miller was out. David V. Picker , Picker was, in his modest way, part of a golden age. Still later, as president of Paramount, he approved and helped to develop Saturday Night Fever and Ordinary People He later produced Leap of Faith and, in , The Crucible.

Wayne Fitzgerald , Who is able to out-point whom is a signifier of power. Which man enjoyed the prerogative more in . Robert Evans had it, but Dustin Hoffman obviously believed he did. The famously combative producer and studio executive, satirized by several filmmakers and actors over the years, not without cause.

His later productions showed both him, and his industry, in serious decline: Sliver , The Phantom , The Saint and the unncessary remake of The Out-of-Towners He was also married seven. Peripherally Related to the Movies. La bete golf course scorecard Accused murderers why does our legal phraseology suggest one is a murderer if merely accused. His conviction was, quite properly, reversed on appeal when the celebrity lawyer Alan Dershowitz took on the case.

But as the screenwriter Nicholas Zazan and the director Barbet Schroeder suggest in their fascinating movie account, there is guilt, and guilt. Claus Jeremy Irons may not have given Sunny Glenn Close the insulin injection that put her in a coma, but he may not have helped her either. James Le Mesurier , The co-founder of the White Helmets, who proved that the Big Lie succeeds far more often than the little one.

James Frawley , A one-time actor i. His all-star disaster-movie spoof The Big Bus predated Airplane. Stanley Donen , A stylist whose technique was occasionally too busy, and sometimes not enough to cover up for thin and undeveloped material Lucky Lady , anyone. Donen was also responsible for some of the most elegant and witty musicals and comedies of the post-War era.

I was staggered that the authors, one of whom, a PhD, was a Civil War historian , were both complete dilettantes when it came to film. That this tome, filled with factual errors, was a university press publication was dispiriting enough. If Donen contributed nothing to their movies, why did Kelly work with him so often. Why did MGM keep giving him projects?

Well, the proof is in the pudding. Franco Zeffirelli , Why film Shakespeare and then remove his lines. Zeffirelli fared much better with his Romeo and Juliet. Casting the lovers, for the first time on film, not with venerated older actors but with beautiful young people Leonard Whiting and Olivia Hussey and giving them a sexy, nude morning-after scene made the picture a huge hit with teenagers.

Pennebaker , Steve Elmore, center. Richard Williams , This one is a heartbreaker. The Completion Bond Company then fired everyone involved, including Williams, farmed out animation to South Korea, re-animating existing sequences and adding superfluous musical numbers that, if anything, made Cobbler seem more like an Aladdin rip-off rather than, as we know, the other way round.

Williams was prodigiously gifted, an artist whose chosen medium was the most painstaking and time-consuming of them all. That this genuine visionary — to see his Cobbler , or merely parts of it, and even reduced to the size of a computer screen, is to experience a genuine sense of awe and of wonder and to be truly dazzled by its execution entirely by hand — was reduced to hosting animation masterclasses to earn his keep is an almost perfect paradigm for the artist in an age of rampant, and many-tentacled, commercialism.

One is reminded, irresistibly, of another 20 th century master incapable of completing his final project before it was taken from him, and whose indecisiveness at crucial moments exacerbated the process. Mendelson was the producer of every Peanuts television special and movie from to , making his work with Charles Schulz and Bill Melendez beloved of at least two generations and likely more.

Sherman and Robert B. In an increasingly crass, vulgar and noisy society, the gentleness and essential humanism of the Peanuts cartoons, their action and dialogue as accessible to children as to their parents and grandparents, provide an alternative and a necessary corrective.

I too grew up in a world filled with junk, and noise: G. Joe and Barbie dolls, Rankin-Bass specials, terrible cartoon series, dopey music, inane commercials and kiddie shows that existed to endorse them and endless hours of Saturday morning pap. Thanks, Mr. Mendelson, for adding a small measure of grace to a largely graceless medium and an increasingly boorish world.

When Harold S. Prince died in July, at 91, I have the feeling the general reaction among at least two generations who grew up with the effects of his genuinely revolutionary approach to musical theatre was a collective shrug… if they noticed at all. Without Prince, the harder-edged musical play would have happened… but not nearly so soon.

Cohan to The Producers. On the other hand, it takes real intestinal fortitude to stage near-rapes, gang violence, pogroms, s Reds, brownshirts menacing Jews, American incursion into Japan, serial killers and cannibalism, Fascist rallies, stories that run backwards, Nora after the door-slam, nelly queens and systemic prison abuse, and lynching.

That is where Harold S. I want to be taken out of myself. Why should an audience be bored by the same things that bored the people who put the show together. It seems impossible that Prince could have been born with the almost jokey-prosaic last name of Smith. Fortunately, his mother re-married a certain Mr. That was more like it. Prince began his theatrical career as an assistant stage manager, then a stage manager, for George Abbott, eventually becoming, with Robert E.

In , he had his greatest success until the late s with Fiddler on the Roof , staged by Robbins , which kept his production office going through any number of bad years and disappointing shows. But it was his last show of that would mark the real turning point. The gorilla in a tutu the Master of Ceremonies sings to was likewise part of a dream Prince had during rehearsals, and which he got Kander and Ebb to musicalize.

But what Prince wrought with Cabaret — indeed, throughout his entire career as a creative collaborator — is an example of what can happen with a visionary director originates, and has a hand in shaping, theatrical material. That Orson Welles had done similar things on the stage in the s does not diminish their impact; whatever is neglected will seem new when re-discovered.

The loose form Prince developed for Cabaret freed him to give everything a shot. Still, for Prince it was an impressive hurling down of a personal gauntlet. Its success gave him, and a lot of other people, permission to try. Bold, witty although perhaps a bit more arch than was good for it , wildly theatrical, sophisticated in content, style and form, Company was unlike any musical comedy before it.

And if it caused arguments there were those who loathed it they were as nothing to what Follies inspired. Company : Dean Jones as Bobby. Solheim cup 2025 Follies drew blood, and meant to. No musical before it had hit back so forcefully against what the creators thought was the lie of pop culture, and of the Popular Songbook itself: The phony optimism, sexless love and happily-ever-after dreams that sustained generations of Americans, and American songwriters, who woke up one day and realized it was all shit.

Set in an old, crumbling theatre about to be demolished itself a potent metaphor Follies presented past and present at once, with impossibly tall, ghostly showgirls floating through the action and its main characters appearing on stage in both their current and their former personae. One of the most moving, and harrowing, moments in the American musical.

Young people, perhaps especially those usually gay with a knowledge of the history of musicals, loved the show. Older spectators, uncomfortable with what they were being shown about themselves, hated it. But Follies dared. In a show this music-heavy, and which depended so strongly on songs and dances to grow its metaphors, Prince made the smart decision to share direction with Bennett.

Even so, A Little Night Music actually ran fewer performances than its predecessor. The result, Pacific Overtures was a glorious nonesuch, a nearly operatic meditation on American imperialist power kitted out with Kabuki conventions including invisible stagehands, a Lion Dancer and men playing the female roles and an entirely or almost entirely Asian cast.

Pacific Overtures enjoyed only performances, but that it ran at all, much less during the Bicentennial year, is something of a miracle. On the Twentieth Century boasted a Hecht and MacArthur pedigree they based it on an unproduced play by Charles Bruce Milholland called Napoleon of Broadway , a satire of the impresario David Belasco and movie aficionados might have recalled the hilarious Howard Hawks movie with John Barrymore and Carol Lombard.

The score, maybe his richest, was by Cy Coleman, and the book and the genuinely witty lyrics were by Betty Comden and Adolph Green. Set largely on the eponymous train, the show had a fabulous, gleaming Art Deco design by Robin Wagner and three indelible comedic performers in John Cullum, Madeline Kahn and Imogene Coca plus Kevin Kline in an athletic supporting role but it was a costly show and Kahn was unreliable.

Her understudy later replacement , Judy Kaye, was from the evidence every bit as inspired and musically sound, but it always hurts to have your above-the-title star making a habit of not showing up when fans are expecting her, and Kaye was then an unknown. It won a Best Score Tony but only ran performances. The increasing cost of Broadway production, plus the ageing-out of his old reliable angels, had made producing less fun and took his attentions away from mounting his shows.

From this point to the end of his life, and with few exceptions, Prince was a director only. It may have lost him some money when it came to projects like Evita and The Phantom of the Opera , but he was by then already wealthy enough. Easy for me to say?

The piece got larger as it went along, with Sondheim composing what amounted to a demi-operatic score. Bond made Todd less a remorseless villain than a societal victim bent on revenge who, maddened by his inability to wreak his vengeance on the hated judge who sentenced him to exile, raped his wife and took in his daughter and on whom the jurist now also has lecherous designs , focuses his rage on the entire human species.

It was a heavy brew, leavened only by Lovett, now a convivial if criminally opportunistic comedian. With Prince aboard, and the leads entrusted to Len Cariou and Angela Lansbury, Sweeney developed into a black-comedy thriller of epic proportions in its sweep and physical production Prince and his designer Eugene Lee disassembled an old New England foundry and employed its parts, some of them working, for the set and the sheer size of the sick joke at its core.

In the contours of its themes and content it was absolutely nonpareil , and in its no pun intended execution, a work of genius, and of art. The show was overwhelming, in every particular. If Sweeney had a flaw, it was the size of the physical production, which, while intentional — the cruelty and dehumanization of the Industrial Revolution was a subtext — somewhat dwarfed the action.

This was proven to my satisfaction when I acted in a small college production of in , the first such in the Southeastern states I was Toby , and again when I saw the scaled-down Circle in the Square revival in starring the splendid Bob Gunton and Beth Fowler. There the major drawback was the minimization of the music, reduced to synthesizer accompaniment and dubbed by Gerald Alessandrini in his Forbidden Broadway series, quite rightly, Teeny Todd.

If not the show of the century I think that was likely Follies , or perhaps the original Porgy and Bess , both of which I can imagine only in the theatre of my mind , Sweeney was certainly one of them. But even via a stripped-down, bus-and-truck tour, Evita was something to see.

Color photo: Martha Swope. When Merrily opened it received the worst reviews Prince and Sondheim had gotten yet, and ran 16 performances before shuttering. La bete golf course scorecard Sondheim blamed the critics, believing, not without reason, that they were gunning for him and Prince. But while time has been kind to his score, few indeed are those who feel the original production of the show that contained them was under-appreciated.

Indeed, Sondheim and James Lapine later revised the show, originally written with George Furth, casting it with rueful adults rather than enthusiastic kids. The greatest irony in this musical about old friends lay in Prince and his choreographer, Ron Field, nearly coming to blows after a performance, and ending their long friendship and collaboration.

It was a notably cheerless affair to have a book and lyrics by Comden and Green, picking up Nora Helmer after she slammed the door and performed as a play-within-a-rehearsal, something John Gielgud attempted with his Hamlet and which perhaps only Orson Welles, in his Moby Dick—Rehearsed , managed to pull off.

I have the cast album. Certainly no one can accuse the director of not giving his all to it, what with subterranean, candle-lit lakes and at least initially, in London old-fashioned hand-cranked scene-moving equipment in the basement — shades of that New England foundry in Sweeney — but other than desperation I can see no reason for him to have undertaken such a creatively barren, soppy enterprise.

Were it not for the now-disgraced Garth Drabinsky and Livent that might have been the end of it. Drabinsky presented the musical first in Toronto, then in London, before deigning to let Broadway get a look at it. Yet the production does succeed… in using the elaborate machinery of a big Broadway musical to tell the story of an uncloseted, unhomogenized, unexceptional gay man who arrives at his own heroic definition of masculinity.

He and his cohorts could have gone to Purchase out of curiosity, seen the show, and either kept mum permanently or held off on expressing their opinions until after the workshop. But their egotism, and their need to air their verdicts, were stronger than their desire to see new Broadway musicals thrive, or to allow creative artists to experiment without censure.

To Rich, the ability to critique without restriction was more important than the nation perhaps getting one or two good shows out of the experience. Show Boat : John McMartin and company. Parade : Brent Carver and Carolee Carmello. Prince had asked Sondheim to compose the score, but he passed.

It ran three months. Although the show and its score were popular with critics and musical theatre aficionados generally, the subject of American miscarriages of justice is no crowd-pleaser, as Kander and Ebb and Susan Strohman discovered to their cost when they mounted their masterpiece The Scottsboro Boys a few years later. The play was received rapturously by, of all people, John Simon, who wrote of it:.

Authentic affection: not syrupy or sentimental, posturing or feel-good-ish, gussied up for theatrical effect. Hollywood Arms is about real people who fight or let one another down, jab and jeer, needle and explode, but also, when need be, help people who are sarcastic or pathetic failures, impoverished and disappointed.

You will never see more feelingful insight, more self-effacing love for their quirks, foibles, and kindnesses, from a director for his stage children, big and small. One fervently hopes that the joy of such a true creation accompanied her on her final journey. Even my year veneration for Sondheim has not been sufficient these past 15 years or so to get me to put either the Bounce or Road Show cast recording on the CD player.

My ennui regarding Broadway musicals is now so complete that not even Donna Murphy is adequate enticement. And what does run is enough to make anyone who cares about theatre, or who used to, give up on it entirely. Like Fosse, Prince also tried directing movies, but unlike his rival found the experience unsatisfying.

In and at the height of his notoriety Prince dictated his theatrical memories as a book that, over the years, has been one of the most well-thumbed in my library. Thankfully, Prince expanded that useful book as Sense of Occasion Applause, , offering some revised opinions on his previous statements and bringing the reader up to date.

Perusing this second volume last winter I was struck by how much I remembered from previous readings in my 20s of Contradictions , and despite my coolness now to theatre, grateful again for what Prince brought to it. I even, reading about the evolutions of Cabaret and Follies, felt some small stirrings of my former passion. Kurt Will-Alan Jay Lerner musical Love Life which among other things ends with its married lovers on a tight-rope, groping their way toward each other.

Mark N. The two types of scenes do not overlap until the end of Part II. The Rise and Fall of the Broadway Musical Northeastern University Press, is not only erudite and technically impeccable the author is also a musician and composer but expresses admirable disgust at the decline of a once-great popular art form. Years ago there was a theatre critic called Percy Hammond who was famous for his dyspeptic opinions of the local offerings.

As a writer on theatre, however, Simon was seldom less than erudite, masterly and — this will doubtless enrage some, particularly those with only a cursory knowledge of his output — fair. Then too there were his, on the one hand, admirable refutations of both Nixonism and Vietnam and, on the other, his writing movie reviews for William F.

In the area of movies, Simon and Pauline Kael famously traded blows in print. How many other movie critics of the period could she have been referring to. I disagreed; he loved movies as much as Kael. Interestingly, Simon according, anyway, to Brendan Gill was so terrified of the tiny Kael that when encountering her in public he became uncharacteristically tongue-tied.

Simon had as much praise for MacDonald as he had opprobrium for Kael. Yet there was, on balance, more in Simon to embrace than to deplore. He was, for instance, unique among theatre critics or any critics in being multilingual, and could for example so splendidly judge the efficacy or ill-favor of various Ibsen translations that one wished he had done his own.

The strongest evidence in his favor are two collections from Singularities: Essays on the Theatre, — , which includes some of his finest work, and Uneasy Stages: A Chronicle of the New York Theatre, — In them you will find a bracing wit and a strong intellect confronting the best and the worst the American theatre had to offer during those essential years.

Additionally, and whatever his reputation, Simon was at his best, as are all great critics, airing not his sometimes hilariously expressed hatreds, but singing his enthusiasms… and when he loved, no one sang with more elegiac euphoria than John Simon. Simon was a fully-fledged intellectual, and Bogdanovich ought to have known the difference. Like many writers, Kael included, Simon composed his own headlines for his magazine reviews.

My all-time favorite of his, in reference to the title of a meretricious C. What more can we ask of a great critic. Or will you simply give up, and stare at the wallpaper. Although I will admit I was convinced by a friend to attend a special screening of Daughters of the Dust … thereby proving the point.

Revisiting Tootsie from a year remove, it seems almost miraculous: A popular comedy that tickles the mind as often as it does the ribs. May created the character, and wrote his speeches. Dave Grusin, who often floundered when composing for dramatic pictures, wrote for Tootsie one of his most felicitous comedy scores. George C.

The movie, while disappointing financially — presumably those involved expected another Lion in Winter — is a blissful variation on Arthur Conan Doyle, in which a mad retired jurist George C. They meet as antagonists, form an uneasy alliance and drift toward romance, while Playfair seeks a rendezvous with the elusive Professor Moriarty.

That last notion no doubt seems trite, but it has seldom been handled with such deftness and wit. Murray Abraham, Paul Benedict, M. Emmet Walsh and Louis Zorich. Two home-video versions exist: One a Universal Vault DVD running under 90 minutes, reflects the theatrical release while the other, the television edit on Blu-Ray from Kino Lorber is longer, and includes the wry, delightful extended sequence in an immense Manhattan grocery store.

But it also seems to me that the movie is enriched by its inclusion, and diminished by its excision. So, caveat emptor. You think that everything is always something else. Justin Playfair: Well, he had a point. He thought that every windmill was a giant. But, thinking that they might be, well… All the best minds used to think the world was flat.

It might be round. And bread mold might be medicine. Cora Lee Day as Nana Peazant. If only the animation for the show had been this good. But the stories are nearly always, despite a minute limitation, well-plotted and exciting, often with an agreeable avoidance of earthly explanation for seemingly supernatural phenomenon.

The recent Warner Archives Blu-Ray collection, while it contains few extras, looks terrific. Klute The truly chilling paranoia thriller starring Donald Sutherland and Jane Fonda, who as the call-girl Bree Daniels gives what I consider the finest performance by an American movie actor of the last 50 years.

In the Heat of the Night This tense, unblinking police procedural coated in a patina of social critique was one of the great successes of its year, which also saw the premier of Bonnie and Clyde. It should be remembered that the picture was in release only three years after the murders of Goodman, Chaney and Schwerner, and the sense of dangerous rot and slowly simmering violence Jewison captures onscreen is as palpable as the oppressive, humid heat of its Mississippi setting.

Although most of it was shot in the southern Illinois town of Sparta. Poitier gives a performance of wit, implacable inner strength and fierce integrity. Poitier has one such scene, when Steiger dismisses him, and his assistance in the murder investigation.

Perhaps the most difficult thing an actor can do is to allow us to see him thinking. With Poitier, the impact registers itself in, first, his disbelief, followed by his fury, and, finally, a soft, subtle smile. Yet none of what we see is obvious, or overdone.

As the racist sheriff, Steiger, at the height of his screen prowess, meets his co-star blow-for-blow. Gillespie is as much an outsider in the town as Virgil, and as distrusted by the locals. His tension is coiled deep, and he expresses that inner explosiveness in the way he compulsively chews gum, stopping only when he has something to say, or when comprehension breaks through his consciousness.

The supporting roles are so perfectly cast they seem inevitable — absolutely real: Warren Oates as a patrolman with a secret; Larry Gates as a smooth and powerful old racist; the usually genial William Schallert as the bigoted mayor; Beah Richards as the local abortionist; Quentin Dean as a white-trash slut; Anthony James as a smirking creep; Scott Wilson as a prime suspect in the killing, whose changing relationship to Virgil is far warmer than what transpires between Tibbs and Gillespie; and Jester Hairston as an Uncle Tom butler outraged by Tibbs slapping his employer.

That slap was a blow for liberty, and must have resounded sharply in many places across the globe, not merely the Southern United States. The dark, expressive cinematography is by Haskell Wexler — cheated by the constricted budget of a crane, he and Jewison make frequent, and often very effective, use of zoom lenses. Most of its predecessors tend to be either comedies with a few ghostly appurtenances cf.

Chicken or genuine horror with black comedy overtones The Abominable Dr. How Blake Edwards took his love for silent comedy routines deep into the post-War pop consciousness. In any case, I only discovered it when I came across the Disneyland soundtrack album — receiving the record for Christmas of , I nearly wore it out through re-playing.

As I grew older and became more familiar with Ustinov, and with his performances and his work as a playwright and screenwriter, I began to suspect that he had re-written the Blackbeard script or at least, his lines as he had on Spartacus. That the coach is played by Jones is a help; whatever criticisms might be levied at the Disney pictures in which he starred, the actor on whom I had a slight childish crush always brought enormous conviction to them, and his outbursts of incredulous anger are as ingratiating as the engaging grin that occasionally splits his handsome face.

The slapstick in the picture, directed with no special distinction by Robert Stevenson, is sometimes dopey and occasionally better than that, and the invisibility effects by Eustace Lycett and Robert A. Mattey are, as usual with Disney, well done, as are the lovely background matte paintings by Peter Ellenshaw. The laughter the Disney Blu-Ray drew from me was considerable, even if nearly all of it was generated by Ustinov, who still makes me roar at lines I memorized off that record album when I was nine.

I mention this because one of them — and I have no idea which — is identified on the imdb as Betty Bronson. Anyway, it would be pretty to think so. Into the Woods Although I have been a Sondheim fanatic since discovering the Company cast album in , and while the original production of Into the Woods was the first Broadway musical I saw before its cast recording had been released, I deliberately avoided the movie of it when it was new, on the basis of two proper names with which it was associated: Disney, and Rob Marshall.

Perhaps only in Hollywood could a minimally talented hack like Rob Marshall reap such rewards and a- wards by removing the guts from ballsy musical plays like Chicago and Nine. Turning all the musical numbers into dream-fantasies Renee Zellweger imagines. If you have to justify why people are singing and dancing in a musical, why the fuck are you making a musical?

Still, with a screenplay by James Lapine, the original book writer and director of Into the Woods , perhaps there was only so much damage Marshall could do to it. The best thing about this moderately black farce concerning a failed American artist in Paris whose supposed suicide instantly drives up the prices fetched for his work by his duplicitous best friend James Garner is Van Dyke as the artist.

Still, Jay Novello has a couple of funny bits as a nervous janitor and little Pierre Olaf does miracle work as an umbrella-toting police detective, Cy Coleman provided a perky score with additional music by Frank Skinner , and DePatie-Freleng came up with some modestly amusing main title animation.

Murder by Decree That Sherlock Holmes occupied a revered, albeit fictional, place in the same late Victorian Britain that saw the appalling murders in Whitechapel has intrigued Sherlockians for decades. The literate screenplay by the playwright John Hopkins emphasizes a more riant, and more passionate, Holmes than is the norm, and Christopher Plummer could scarcely be bettered in the role as the filmmakers, if not Conan Doyle, conceived it.

Rating Index Rating. Conditions 3. Value 3. Layout 3. Friendliness 3. Pace 4. Amenities 3. Average Rating. Conditions 0. Value 0. Layout 0. Friendliness 0. Pace 0. Amenities 0. About Holes Type Public. Style Executive. Par Length yards. Satellite Layout. Track Rounds.

Scorecard for Le Manitou. Metrics: yards meters. Course Details Year Built Fairways Bent Grass. Greens Bent Grass. Architect Darrell Huxham Clubs Yes. Pull-carts Yes. Driving Range Yes. Bunker Yes. Caddies No. Golf School Academy Yes. Teaching Pro Yes. Putting Green Yes. Practice Hole Yes. Metal Spikes Allowed No.

Walking Allowed Yes. Available Facilities Clubhouse. Reviews 3. Undulating Greens 6. Advanced Filters Overall Rating 5 Stars 1. Yes 5. Handicap 2. Don't Know 1. Age 1. Type of Golfer Beginner 1. Intermediate 5. Advanced 4. Male 3. Female 0. Clear Filters Filter Results. Reviews Handicap Skill Advanced.

Plays A few times a week. Previously Played. Hot weather. Conditions Fair. Value Fair. Layout Good. Friendliness Excellent. Pace Excellent. Amenities Good. Difficulty Somewhat Challenging. Helpful 0 Not Helpful 0. Comment Share Report. Windy weather. Conditions Poor. Value Poor. Layout Average. Pace Fair. Amenities Average.

Difficulty Moderate. Skill Intermediate. First Time Playing. Excellent weather. Used cart. Pace Poor. Difficulty Fairly Easy. Reviews 6. Handicap Don't know. Skill Beginner. Plays Once a week. I Recommend This Course. Verified Purchaser. Conditions Good. Friendliness Average. Reviews 4. Good weather. Conditions Average. Value Average. Friendliness Fair. Value Excellent.

Friendliness Good. Amenities Excellent. We do not recommend this course to average players without a gps in hand. Sorry but this is what we feel. Amenities Poor. Helpful 0 Not Helpful 1. Golf Advisor.