Their forbidden love soon draws everyone, including Queen Elizabeth, into the drama, and inspires Will to write the greatest love story of all time: Romeo and Juliet. Based on the Oscar-winning screenplay by Marc Norman and Tom Stoppard, Shakespeare in Love has been deftly adapted for the stage by Lee Hall and has been playing to rave reviews and a sold-out theatre at the Noël Coward in London. The London production is directed by Declan Donnellan and designed by Nick Ormerod, the driving force behind the world-renowned theatre company, Cheek by Jowl. A Broadway transfer is planned for Spring 2015.

    In this fictional memoir, Valerie Martin brilliantly re-creates the seamy theater world of 1970s New York, when rents were cheap, love was free, and nudity on stage was the latest craze. Edward Day, a talented and ambitious young actor finds his life forever altered during a weekend party on the Jersey Shore, where he seduces the delicious Madeleine Delavergne and is saved from drowning by the mysterious Guy Margate, a man who bears an eerie physical resemblance to Edward. Forever after, Edward is torn between his desire for Madeleine and his indebtedness to Guy, his rival in love and in art, on stage and off.

    Now, here is the complete shooting script of this extraordinary film from Universal Pictures, Dreamworks Pictures, and Spyglass Entertainment, featuring a foreword from "Seabiscuit" author Laura Hillenbrand and thirty full-color still photos from the motion picture. An American epic of triumph and perseverance set during the Great Depression, this stunning adaptation brilliantly dramatizes the story of the three men and the down-and-out racehorse that took them and the entire nation on the ride of a lifetime.

    Some of these characters remain friends, others are like ex–lovers with whom we no longer have anything in common. All of them bring something out in us that will never go back in the box.’ In a varied and distinguished career, Harriet Walter has played almost all of Shakespeare’s heroines, notably Ophelia, Helena, Portia, Viola, Imogen, Lady Macbeth, Beatrice and Cleopatra, mostly for the Royal Shakespeare Company. But where, she asks, does an actress go after playing Cleopatra’s magnificent death? Why didn’t Shakespeare write more – and more powerful – roles for mature women? For Walter, the solution was to ignore the dictates of centuries of tradition, and to begin playing the mature male characters. Her Brutus in an all–female Julius Caesar at the Donmar Warehouse was widely acclaimed, and was soon followed by Henry IV. What, she asks, can an actress bring to these roles – and is there any fundamental difference in the way they must be played? In Brutus and Other Heroines, Walter discusses each of these roles – both male and female – from the inside, explaining the particular choices she made in preparing and performing each character. Her extraordinarily perceptive and intimate accounts illuminate each play as a whole, offering a treasure trove of valuable insights for theatregoers, scholars and anyone interested in how the plays work on stage. Aspiring actors, too, will discover the many possibilities open to them in playing these magnificent roles. The book is an exploration of the Shakespearean canon through the eyes of a self-identified ‘feminist actor’ – but, above all, a remarkable account of an acting career unconstrained by tradition or expectations. It concludes with an affectionate rebuke to her beloved Will: ‘I cannot imagine a world without you. I just wish you had put more women at the centre of your world/stage… I would love you to come back and do some rewrites.’

    Renowned for serial hostage taking and his rooftop sieges, he is a legend in his own lifetime. Yet behind the crime and the craziness, there is a great deal more to Charlie. He is a man of great warmth and humor; a man of great artistic talent who exhibits his drawings around the country; and a man with an overpowering urge not to let the system get him down. Insanity is a look into the mind of a true individual—a wild, inspired, single-minded, fascinating man, oppressed not only by the workings of his singular mind, but also by the system that confines him.

    Jody is in his forties and runs a map store. Not one for the outside world, he stays in his store all the time. His friend, Carl is in his late thirties and has been bringing chairs of dead friends into Jody's store and leaving them there. When Jody needs to take an AIDS test, Carl tries to convince him it is not only okay to leave the store, but also that he must take responsibility for his life. If he doesn't, he will join the set of chairs that Carl has taken great pains to place in the right spots around the store. Jody finally leaves the map store to take his HIV test and return to find Carl sitting in a chair of his own. With this gesture, we know that Carl has joined the many of their friends who have died, but now Jody must take Carl's place as the caretaker.

    While struggling to get his feet planted deep in the dope game, he becomes attached to the little boy. Being affiliated with other hustlers and robbers eventually jeopardizes his life as well as the child's. When enough guns go off and enough bodies get laid to rest, Manus better have enough money to buy his son from the woman who threatens to separate them forever.

    Falling in love with Boss, though, is the easy part; staying in love will prove to be a much harder task. When Meesha discovers that her heart's desire is not only a well-connected gangster, but is also next in line to head the mob that controls the entire city of St. Louis, she must make the most difficult decision of her entire young life. When she decides to stand by her man, it becomes painfully clear that, even though she's the only woman in his heart, she's not the only woman in his bed...Malcolm "Boss" Clark knows better than to fall for a girl almost ten years younger than him. He's a man, and Meesha is just a girl, but there's something about her that won't let Boss walk away. Their relationship moves fast and burns hot, much like the city they call home. In the blink of an eye, they find themselves dangerously in love with two small daughters and their first son on the way. The love soon turns to hate, though, when Meesha's doctor breaks the news to her that she's HIV-positive. Certain that Boss contracted the virus from one of his numerous affairs, an emotionally distraught Meesha locks herself in a bathroom with her husband, then proceeds to point his own gun in his face and demand answers - but will the truth set her free, or just keep her bound...?

    Includes: Accident Waiting to Happen * Bride's Lament * Cold Feets * I Am Aldolpho * I Remember Love * Show Off * Toledo Surprise * and more.

    In this hilarious comedy by the author of Lend Me A Tenor and Moon Over Buffalo, two English Shakespearean actors, Jack and Leo, find themselves so down on their luck that they are performing "Scenes from Shakespeare" on the Moose Lodge circuit in the Amish country of Pennsylvania. When they hear that an old lady in York, PA is about to die and leave her fortune to her two long lost English nephews, they resolve to pass themselves off as her beloved relatives and get the cash. The trouble is, when they get to York, they find out that the relatives aren't nephews, but nieces! Romantic entanglements abound, especially when Leo falls head-over-petticoat in love with the old lady's vivacious niece, Meg, who's engaged to the local minister. Meg knows that there's a wide world out there, but it's not until she meets "Maxine and Stephanie" that she finally gets a taste of it.

    The author of 'The Life and Times of the Thunderbolt Kid' isn't, after all, a Shakespeare scholar, a playwright, or even a biographer. Reading 'Shakespeare The World As Stage', however, one gets the sense that this eclectic Iowan is exactly the type of person the Bard himself would have selected for the task. The man who gave us 'The Mother Tongue' and 'A Walk in the Woods' approaches Shakespeare with the same freedom of spirit and curiosity that made those books such reader favorites. A refreshing take on an elusive literary master.

    Are you as successful as you could be? Are your good ideas appreciated? Could your sex life be more fulfilling? In this high-paced yet lonely world, Patsy Rodenburg teaches you how to communicate more effectively and intimately—at home, at work, at school, and, most importantly, with yourself. Her remarkable program transforms your negative patterns of energy into a positive presence that she calls “the second circle”—the optimal state between the first circle of introversion and self-negation and the third circle of aggression and narcissism. Containing a wealth of insights that will break the habits that constrict your real power, The Second Circle helps you deal with the debilitating and manipulative behaviors of your immediate family, friends, and colleagues while bringing out their best qualities. Filled with easy-to-apply exercises (breathing, voice, posture), The Second Circle, in dealing with such emotional issues as loss, violation, and self-esteem, will begin a journey that will revitalize your life.

    Away from the rest of the world, this perfect escape is interrupted by a motley parade of misfits who show up and change his plans. A hired beauty, a fireman, and an eccentric British real estate agent desperately trying to stay in the country all suddenly find themselves tangled together in a beach house where the mood is anything but sunny.This pithy piece portrays a scenario of attempted suicide with mordant humour, where a basis of social alienation leads to unexpected connections. The richly-drawn characters are quick-witted and narcissistic yet self-aware and the dialogue is fluid and witty."All New People" is centred around a clever concept which works as a catalyst for both angst-fuelled scrutiny and morbid humour.

    He wrote too much and what he did write is inaccessible and elitist. Right? Wrong. "Shakespeare on Toast" knocks the stuffing from the staid old myth of Shakespeare, revealing the man and his plays for what they really are: modern, thrilling and uplifting drama. Actor and author Ben Crystal brings the bright words and colourful characters of the world's greatest hack writer brilliantly to life, handing over the key to Shakespeare's plays, unlocking the so-called difficult bits and, astonishingly, finding Shakespeare's own voice amid the poetry.Told in five fascinating Acts, "Shakespeare on Toast" sweeps the cobwebs from the Bard - from his language, his life, his time - revealing both the man and his work to be relevant, accessible and full of beans. This is a book for everyone, whether you're reading Shakespeare for the first time, occasionally find him troublesome, think you know him backwards, or have never set foot near one of his plays but have always wanted to ...It's quick, easy and good for you. Just like beans on toast.

    In Death By Shakespeare, Kathryn Harkup, best-selling author of A is for Arsenic and expert on the more gruesome side of science, turns her expertise to Shakespeare and the creative methods he used to kill off his characters. Is death by snakebite really as serene as Cleopatra made it seem? How did Juliet appear dead for 72 hours only to be revived in perfect health? Can you really kill someone by pouring poison in their ear? How long would it take before Lady Macbeth died from lack of sleep? Readers will find out exactly how all the iconic death scenes that have thrilled audiences for centuries would play out in real life.In the Bard's day death was a part of everyday life. Plague, pestilence and public executions were a common occurrence, and the chances of seeing a dead or dying body on the way home from the theater was a fairly likely scenario. Death is one of the major themes that reoccurs constantly throughout Shakespeare's canon, and he certainly didn't shy away from portraying the bloody reality of death on the stage. He didn't have to invent gruesome or novel ways to kill off his characters when everyday experience provided plenty of inspiration.Shakespeare's era was also a time of huge scientific advance. The human body, its construction and how it was affected by disease came under scrutiny, overturning more than a thousand years of received Greek wisdom, and Shakespeare himself hinted at these new scientific discoveries and medical advances in his writing, such as circulation of the blood and treatments for syphilis.Shakespeare found 74 different ways to kill off his characters, and audiences today still enjoy the same reactions--shock, sadness, fear--that they did over 400 years ago when these plays were first performed. But how realistic are these deaths, and did Shakespeare have the science to back them up?