0-935906-02-9$5.00 / Javan Press

    Theatre script, playbook

    Michael Whitehall contrasts the glamorous image of theatrical life with the mundane realities of the business, while passing on some startling trade secrets along the way.A laconic raconteur of refreshingly unstar-struck theatrical anecdotes, Whitehall deftly sketches the social comedy of his eccentric background: growing up in suburban London in the 1950s, his schooldays at Ampleforth and his subsequent adventures as a prep schoolmaster – worthy of Evelyn Waugh himself – before becoming an actors’ agent.Shark-Infested Waters is a charming, funny and piquant view of a world that continues to fascinate.Praise for Shark Infested Waters:“The funniest show-business memoir I’ve read since David Niven’s The Moon’s a Balloon.” - Nigel Havers“One of the year’s funniest memoirs.” – Daily Express

    That may seem a while ago but it won’t when it happens to you . . .”In this dramatic adaptation of her award-winning, bestselling memoir (which Michiko Kakutani in The New York Times called “an indelible portrait of loss and grief . . . a haunting portrait of a four-decade-long marriage), Joan Didion transforms the story of the sudden and unexpected loss of her husband and their only daughter into a stunning and powerful one-woman play.The first theatrical production of The Year of Magical Thinking opened at the Booth Theatre on March 29, 2007, starring Vanessa Redgrave and directed by David Hare.From the Trade Paperback edition.

    The 'scholars' are a cross-section of the local community, from a semi-literate young farmer to and elderly polygot autodidact who reads and quotes Homer in the orginal.In a nearby field camps a recently arrived detachment of the Royal Engineers, engaged on behalf of the Britsh Army and Government in making the first Ordnance Survey. For the purposes ofr cartography, the local Gaelic place names have to be recorded and transliterated - or translated - into English, in examining the effects of this operation on the lives of a small group of people, Irish and English, Brian Friel skillfully reveals the unexperctedly far-reaching personal and cultural effects of an action which is at first sight purely administrative and harmless. While remaining faithful to the personalities and relationshiops of those people at that time he makes a richly suggestive statement about Irish - and English - history.

    Forced to return to her family in South Florida, a place where she never felt she fit in, Victoria moved into her parents' guest room and reluctantly took a job hostessing at The Bubblegum Kittikat, South Florida's "klassiest" gentlemen's club. This hilarious memoir recounts how working in a strip club helped her recover from her breakup while giving her life and herself a much needed makeover. Amateur Night at the Bubblegum Kittikat demonstrates what miracles can happen when you stop judging yourself and others and step far out of your comfort zone (in five inch Lucite heels).

    It is absolutely intoxicating to ponder what he will give us in the future.”—Irish Echo“The unique and extraordinary aspect of McPherson’s writing is the way in which his characters reveal themselves in tiny details which almost imperceptibly build up an extensive picture of the past, present and future, not just of themselves but of Ireland.”—The Sunday Mail (London)Conor McPherson returns to his native Dublin for the setting of his new play, which he will direct in a much-anticipated production at London’s National Theatre in fall 2006. It is Christmas Eve, and James “Sharky” Harkin, erstwhile fisherman/van driver/chauffeur, gathers with friends at the dingy flat he shares with his blind brother to drink booze and play cards. As Christmas Eve becomes Christmas Day, the familiar-looking stranger Mr. Lockhart reminds Sharky of the bargain he made when they last met in prison—and Sharky suddenly finds himself playing a game with the stakes set at his soul. With this magnificently atmospheric new play, McPherson is once again set to entrance his audience, this time with a new take on the Faustian theme.Conor McPherson was born in Dublin, where he still lives. His plays include This Lime Tree Bower, St. Nicholas, The Weir, Port Authority, Dublin Carol, and Shining City, which premiered on Broadway in spring 2006. One of Ireland’s leading playwrights, his work has been produced throughout the United Kingdom and the United States.

    As a Stanislavsky disciple and founder of her own highly esteemed acting conservatory, the extravagant actress was also an eminent acting teacher, training her students--among them Marlon Brando, Al Pacino, and Robert DeNiro--in the art of script interpretation. The classic lectures collected here, delivered over a period of forty years, bring to life the plays of the three fathers of modern drama: Henrik Ibsen, August Strindberg, and Anton Chekhov. With passionate conviction and shrewd insight, Adler explains how their plays forever changed the world of dramaturgy while offering enduring insights on society, class, culture, and the role of the actor. She explores the struggles of Ibsen's characters to free themselves from societal convention, the mortal conflicts that trap Strindberg's men and women, and the pain of loss and transition lyrically evoked by Chekhov. A majestic volume, Stella Adler on Ibsen, Strindberg, and Chekhov allows us to experience the work of these masters "as if to see, hear and feel their genius for the first time." (William H. Gass)

    The author's procedural method is detailed and precise. The parts of a play are learned progressively, which fosters an understanding of the concept of artistic unity. Examples are clear and comprehensive. Actors, directors, and designers will benefit from end-of-chapter questions and summaries meant to stimulate their creative process as they engage in production work.

    The scene is Mrs. Orcutt's boarding house, where the hopes and ambitions of sixteen young women are revealed in scenes of entertaining comedy. Contrasted with this are the cases of the girl without talent and the elderly actress whose days are over. The central plot has to do with courageous Terry Randall, who fights against discouragement to a position in the theater where we are sure she will conquer. One of her fellow aspirants gives up in despair, one gets married, and one goes into pictures, but Terry, with the help of idealistic David Kingsley, sticks to her guns.

    After all, isn’t it selfish to grieve when the departed goes to a better place? Being in charge of the funeral for his grandmother, Nanna, John arranges for a happy atmosphere, but not everyone understands. Tabitha, his twelve-year-old daughter, who is attending her first funeral, perceives the conflict in a very personal way. During the days before Nanna’s death, Tabitha had been comforted by dreams of the lady’s glorious entrance into Heaven, but she truly misses Nanna’s presence and wonders if her inner yearnings are wrong.    Tabitha has also had dreams about her best friend, Rose Grayson, haunting dreams that showed her friend as lost and in terror in the afterworld. No, Rose is not a Christian. In fact, her father, Phil, is an atheist, a bold atheist. Phil and Rose attend Nanna’s funeral, and when Tabitha claims to see a vision of her departed great grandmother, Phil suggests to John that Tabitha should undergo therapeutic counseling. John decides on another path, but the conflict raises doubts about his daughter’s mental and spiritual stability.

    Formerly part of the World Dramatists series of play collections by classic and modern playwrights, including foreign works in workable and accurate translations, this title and seven others are reissued in a new format under the heading, World Classics.

    King James commissions Shakespeare to write a play about the Gunpowder Plot.

    It is the story of the embrace of risk and substance. In so doing, Chris Jones makes the point that the theatre thrived by finally figuring out how to embrace the bold statement and insert itself into the national conversation - only to find out in 2016 that a hefty sector of the American public had not been listening to what it had to say.Chris Jones was in the theatres when and where it mattered. He takes readers from the moment when Tony Kushner's angel crashed (quite literally) through the ceiling of prejudice and religious intolerance to the triumph of Hamilton, with the coda of the Broadway cast addressing a new Republican vice-president from the stage. That complex performance - at once indicative of the theatre's new clout and its inability to fully change American society for the better - is the final scene of the book.

    Set in September of 1916, the play combines historical fact and legend, exploring the deep-seated Ameri