There's a funny smell coming from one of Jim's storage units. And Kate's losing it after spending all day with the police. There's no going back after what they've seen.Breathing Corpses was first performed at the Royal Court Jerwood Theatre Upstairs in February 2005.

    Bubbly, fun, and full of infectious laughter, Jade quickly captured the hearts of a nation. This volume—which covers Jade's amazing rags-to-riches story—was initially banned after allegations of racism in the Celebrity Big Brother house, but is now back in print. Jade reveals all about her life, from her troubled childhood to how she found fame and fortune. Packed with incredible highs and tearful lows, Jade tells the story of her successes, failures, and her life with beloved sons Bobby and Freddy.

    

    As you read through the job description, your excitement builds as you realize that the job is a perfect fit! Not wasting another second, you fill out the application, attach your resume, and hold your breath as you hit “Apply.” Then you wait. And wait. And wait some more. Weeks go by without hearing so much as a peep, and before long you’ve given up hope on what seemed like a match made in heaven. Sound familiar? You’re not alone! On average there are 250 resumes submitted for every job opening, which means that 99.6% of applicants will fail to land the jobs they apply for. To get the job you want, you don’t just need a great resume--you need an outstanding resume, one that puts you in the top 1% of candidates for the job. That means ditching the same old advice you’ve been following with little results and adopting a tried-and-true process for getting your resume noticed in even the most competitive situations. In this book, Dan Clay breaks down the exact method he’s carefully developed over a period of ten years and provides a precise, step-by-step set of instructions for crafting the perfect resume, down to the last period. Unlike the dime-a-dozen recruiters turned career coaches who have never had to put themselves on the line in today’s brutally competitive job market, Dan offers practical, real-world experience gained from applying for and getting job offers from some of the most prestigious, competitive companies in the world. And when it comes to something as important as your career, don’t you deserve to learn from someone who’s actually succeeded at doing what you’re hoping to do? Of course you do! Here are some of the things you’ll learn about how to transform your resume from average to awe-inspiring: How to handle tricky pitfalls like extended time off or unemployment and have your resume come out as strong as ever How to make your accomplishments sound dramatically more impressive without having to tell a single lie How to remove the guesswork about what to include in your resume and build it to the exacting specifications of your target job's requirements How to pass the four tests that companies will put your resume through with flying colors How to strike the perfect composition of content, white space, and page length to accentuate and differentiate your strengths How to avoid the common (and not so common) resume mistakes that leave your resume dead on arrival How to tell a powerful story that demonstrates your capabilities in a way that will knock the socks off anyone reading it How to stand out without resorting to cheap tricks that come off as cheesy or over-the-top PLUS, you’ll also gain access to a free companion website containing fully editable resume templates, a perfect resume checklist, and other bonus materials to give you everything you need to create a stunning resume that will get you noticed and land you interviews. Whether you’re a new graduate looking for your first job, a career veteran angling for your next move, a recent victim of a layoff, or someone looking to dip their toes back int

    Arguably, no literary work is more familiar to us. Everyone knows at least six words from Hamlet, and most people know many more. Yet the play—Shakespeare’s longest—is more than “passing strange,” and it becomes even more complex when considered closely.  Reading Hamlet alongside other writers, philosophers, and psychoanalysts—Carl Schmitt, Walter Benjamin, Freud, Lacan, Nietzsche, Melville, and Joyce—Simon Critchley and Jamieson Webster go in search of a particularly modern drama that is as much about ourselves as it is a product of Shakespeare’s imagination. They also offer a startling interpretation of the action onstage: it is structured around “nothing”—or, in the enigmatic words of the player queen, “it nothing must.”  From the illusion of theater and the spectacle of statecraft to the psychological interplay of inhibition and emotion, Hamlet discloses the modern paradox of our lives: how thought and action seem to pull against each other, the one annulling the possibility of the other. As a counterweight to Hamlet’s melancholy paralysis, Ophelia emerges as the play’s true hero. In her madness, she lives the love of which Hamlet is incapable. Avoiding the customary clichés about the timelessness of the Bard, Critchley and Webster show the timely power of Hamlet to cast light on the intractable dilemmas of human existence in a world that is rotten and out of joint.

    Winner of the Los Angeles Drama Critics Circle Award for Best Playwright, David Lindsay-Abaire's Kimberly-Akimbo focuses, with uncanny depth and quirky wit, on a sixteen-year-old girl suffering from a disease that causes her body to age nearly five times faster than it should.

    Women of Color and Feminism tackles the question of how women of color experience feminism, and how race and socioeconomics can alter this experience. Rojas explores the feminist woman of color’s identity and how it relates to mainstream culture and feminism. Featuring profiles of historical women of color (including Hottentot Venus, Josefa Loaiza, and Anna Mae Pictou-Aquash), a discussion of the arts, and a vision for developing a feminist movement built on love and community healing, Rojas examines the intersectional nature of being a woman of color and a feminist. Covering a range of topics, including sexuality, gender politics, violence, stereotypes, and reproductive rights, Women of Color and Feminism offers a far-reaching view of this multilayered identity.This powerful study strives to rewrite race and feminism, encouraging women to “take back the body” in a world of new activism. Women of Color and Feminism encourages a broad conversation about race, class, and gender and creates a discourse that brings together feminism and racial justice movements.

    Shear rode a wild wave of employment (sixty-four jobs in all) on her way to realizing her dream of becoming an actress. Before landing the starring role in the upcoming film, Body Language, and scoring a deal with Steven Spielberg and Jeffrey Katzenberg for her own sitcom, she worked as (among other things) a pastry chef, a nude model, a waitress (a lot), a receptionist in a whorehouse, a brunch chef on Fire Island, a proofreader on Wall Street (a lot), and an Italian translator. On the surface her life makes for a hilarious tour de resume. But underneath is a universal lesson learned about life in the workplace.

    Theatre script, playbook

    As a child in the segregated Baltimore of the early 1960s, Smith absorbed the words of her parents, teachers, neighbors—even train conductors—and realized that there was something more being communicated than the actual words:The conductor's voice had a mild kind of grandeur that was a cousin to the vocal tones I had heard at funerals—"Ashes-to-ashes"—and at christenings and weddings. These are words that have been said many times, but the person who speaks them understands that each time it must be said as if it matters, because it does matter. We never know what lies ahead, and we never know what just happened, and all words must house respect of those two unknowns.In Talk to Me, Smith looks back at a singular career as a seeker and interpreter of language in America, revealing the methodology behind her extraordinary search for the truth and nuances of verbal communication. For thirty years, the defining thesis of Smith's work has been that how we speak is just as important in communicating truth and identity as what we say. Everything from individual vocal tone to grammar, Smith demonstrates, can be as identifiable and revealing as a fingerprint. Her journey has taken her from the rarefied bastions of academia to riot-torn streets; she has conducted hundreds of interviews with subjects ranging from women prisoners to presidents of the United States. In 1995, her ongoing investigation led her to Washington, D.C. After all, what better place to wage an inquiry into the power of language and the language of power than in the city where "message" is a manufactured product? What happens when we as citizens accept—which we seem to be doing more and more—our chosen leaders' failure to tell the truth? And how can we know that we are hearing what Washington really has to say when everything we receive is filtered through the media? Armed with a blazing intellect and a tape recorder, Smith tackled these questions head-on, conducting more than four hundred interviews with people both inside and outside the power structure of Washington. She recorded these sessions in her trademark verbatim transcripts, which include every tic and verbal utterance of her subjects. More than thirty of these remarkable documents appear in this book, including interviews with Bill Clinton, Anita Hill, Studs Terkel, George Bush, Mike McCurry, and Helen Thomas. After five years of searing investigation into the world of the politicians, spin doctors, and power brokers who are steering the course of our country from inside the beltway, Smith has come away with a revelatory assessment—by turns devastating and hopeful—of the lexicon of power and politics in America. Talk to Me is a landmark contribution from a woman whose pioneering insights into language speak volumes.

    The range, charm, and vitality of his talents—he was a playwright, actor, composer, librettist, lyricist, director, painter, writer, cabaret singer, wit—brought him into close encounters, and often close friendship, with the great and the gifted. He knew everybody who was anybody in the theater and in the movies, in literature and in politics, on both sides of the Atlantic. Among those at his “marvelous party”: George Bernard Shaw . . . T. E. Lawrence . . . Virginia Woolf . . . the Churchills . . . Daphne Du Maurier . . . Greta Garbo (she wrote asking him to marry her; he wrote back saying he almost accepted) . . . Ian Fleming . . . W. Somerset Maugham . . . Marlene Dietrich (he advised her, “To hell with God damned ‘L’Amour.’ It always causes far more trouble than it is worth”) . . . Tallulah Bankhead . . . Edith Sitwell . . . FDR . . . Gertrude Lawrence (in a cable about Private Lives: “Have written delightful new comedy stop good part for you stop wonderful one for me stop”), and many more. There are letters about his productions of Bitter Sweet . . . Cavalcade . . . In Which We Serve . . . Brief Encounter . . . Private Lives, etc. . . . about his activities during World War II (he was a spy for the British government along with co-conspirator Cary Grant) . . . about the move to make him a knight that was endorsed in a personal letter from King George VI and blocked by Winston Churchill. Here are letters to and from his beloved mother, Violet . . . his longtime set and costume designer, Gladys Calthrop . . . his traveling companion from the 1930s on, Lord Amherst . . . and his business manager and onetime lover, Jack Wilson, in which he reveals his “secret heart.”Profoundly savvy, witty, loving, bitchy, and often surprisingly moving, The Letters of Noël Coward gives us “Destiny’s Tot” at his crackling best. An irresistible portrait of a time, of the man himself, and of the world he lived in and enchanted.

    How one tragedy led to another is a true story that puts a horrifying twist on the familiar one of bullied gay teens. In this case, the bully was the teen's own mother, and instead of harming himself he killed her in a momentary but irreversible explosion of rage. God’s Nobodies, written by veteran crime reporter Mark Obbie, exposes the destruction of a meek young man whose only refuge was a childlike fantasy world of his own imagination. His family's blind obedience to their minister compounded the losses, first by turning Pam Ginocchetti against her son, and then by turning the rest of Tim's family against his loving grandmother — the one person brave enough to take a stand for forgiveness and truth after Pam's death. Through a searing and heartbreaking true-crime narrative, God’s Nobodies teaches profound lessons about tolerance and the human spirit's yearning for independence.

    From humble beginnings on the streets of London's East End, Cameron White rapidly ascended the drug ladder of London's club scene before notorious local criminals forced him to move to the US.

    It was ground-breaking, not only for its blatant denounciation of the incompetence of political leaders during World War I, but also for its unusual theatrical style and development. Created organically through a process of improvisation which was then scripted, Oh What A Lovely War is a colorful and innovative exercise in ensemble theatre and acting.It recalls the horrors of World War I through the humor and frivolity of a seaside pier show, mixing famous British war songs (often with alternative words) with gags and dances, and sets hilarious clowning against shocking factual documentation of the war's casualties. An exhilarating ensemble piece, Joan Littlewood's theatrical creation is a lesson in Brechtian theatre, in its self-conscious theatricality, and uses humor to present human tragedy.It received the acclaim of London audiences and critics. It won the Grand Prix of the Théâtre des Nations festival in Paris that year and has gone on to become a classic of the modern theatre. In 1969 a film version was made which extended the play's popular success. This new version of the play, as edited by Joan Littlewood, returns the script to its original version.Includes a new photo section of the original production, and an Afterword by Victor Spinetti.

    While Roxane is in love with the beautiful but inarticulate Christian.Cyrano's generous offer to act as go-between sets in motion a poignant and often hilarious love-triangle, in which each character is torn between the lure of physical attraction and the seductive power of words.Martin Crimp's adaptation of Edmond Rostand's Cyrano de Bergerac premiered at the Playhouse Theatre, London, in November 2019.