Barbara Isenberg interviewed the men and women behind the original production, the film and significant revivals-- Harold Prince, Sheldon Harnick, Joseph Stein, Austin Pendleton, Joanna Merlin, Norman Jewison, Topol, Harvey Fierstein and more-- to produce a lively, popular chronicle of the making of Fiddler. Published in celebration of Fiddler's 50th anniversary, Tradition! is the book for everyone who loves Fiddler and can sing along with the original cast album.

    Best known for his highly stylized film noir classics T-Men, He Walked by Night, and The Big Combo, Alton earned a reputation during the 1940s and 1950s as one of Hollywood's consummate craftsmen through his visual signature of crisp shadows and sculpted beams of light. No less renowned for his virtuoso color cinematography and deft appropriation of widescreen and Technicolor, he earned an Academy Award in 1951 for his work on the musical An American in Paris. First published in 1949, and long out of print since then, Painting With Light remains one of the few truly canonical statements on the art of motion picture photography, an unrivalled historical document on the workings of the postwar, American cinema. In simple, non-technical language, Alton explains the job of the cinematographer and explores how lighting, camera techniques, and choice of locations determine the visual mood of film. Todd McCarthy's introduction, written especially for this edition, provides an overview of Alton's biography and career and explores the influence of his work on contemporary cinematography.

    Winner of three Tony Awards, including Best Book, Urinetown is a tale of greed, corruption, love, and revolution in a time when water is worth its weight in gold.

    In keeping with the popular level of this theater, Schikaneder himself supplied Mozart with the libretto about the rescue of a good fairy's daughter from a wicked magician by a hero armed with a magic flute. After a good deal of the music was written, the composer and librettist — both Freemasons — grafted Masonic ideals onto the plot, transforming a simple fairy tale into a moralistic allegory and a Singspiel into one of the world's greatest operas.This handsome, moderately priced volume, reprinted directly form an authoritative edition, will enable musicians, music students, and opera lovers to gain a fuller appreciation of Mozart's mastery of operatic language, orchestral color, and dramatic expression. A helpful feature of this edition is the inclusion of all spoken dialog, usually abbreviated in other editions.

    

    But when one of the guests is stabbed to death, the festivities in this isolated house of tricks and mirrors quickly turn dangerous. Then it's up to Gillette himself, as he assumes the persona of his beloved Holmes, to track down the killer before the next victim appears. The danger

    Believe me. I don't know what's happened, but something has. He's changed. He . . . And I'm wondering if . . . To be absolutely honest with you . . . I'm even wondering if . . . Nicolas, just two years ago a smiling boy, is going through a difficult phase after his parents' divorce. He's listless, skipping classes, lying. He believes moving in with his father and his new family may help. And a different school, a fresh start. When he doesn't feel comfortable there, when he senses he isn't wanted, he decides that going back to his mother's may be the answer. But at some point, options are going to dry up. And then what?I'm telling you. I don't understand what's happening to me. Florian Zeller's The Son forms the final part in a trilogy with The Mother and The Father, all of which are translated by Christopher Hampton. The Son premieres at the Kiln Theatre, London, in February 2019.

    Rollicking but intimate, it tracks one of Broadway’s great personalities from her upbringing in Detroit during the Great Depression to her fateful move to New York City, where she studied alongside Marlon Brando, Bea Arthur, and Harry Belafonte. We accompany Elaine through her jagged rise to fame, to Hollywood and London, and across her later years, when she enjoyed a stunning renaissance, punctuated by a turn on the popular television show 30 Rock. We explore the influential—and often fraught—collaborations she developed with Noël Coward, Tennessee Williams, and above all Stephen Sondheim, as well as her courageous yet flawed attempts to control a serious drinking problem. And we see the entertainer triumphing over personal turmoil with the development of her Tony Award–winning one-woman show, Elaine Stritch at Liberty, which established her as an emblem of spiky independence and Manhattan life for an entirely new generation of admirers.In Still Here, Alexandra Jacobs conveys the full force of Stritch’s sardonic wit and brassy charm while acknowledging her many dark complexities. Following years of meticulous research and interviews, this is a portrait of a powerful, vulnerable, honest, and humorous figure who continues to reverberate in the public consciousness.

    Issued in tandem with Kitty, the revealing autobiography of his wife, Kitty Carlisle Hart, Act One, is a landmark memoir that influenced a generation of theatergoers, dramatists, and general book readers everywhere. The book eloquently chronicles Moss Hart's impoverished childhood in the Bronx and Brooklyn and his long, determined struggle to his first theatrical Broadway success, Once in a Lifetime. One of the most celebrated American theater books of the twentieth centure and a glorious memorial to a bygone age, Act One if filled with all the wonder, drama, and heartbreak that surrounded Broadway in the 1920s and the years before World War II.

    He keeps "one up, one down and one pending" until unexpected schedule changes bring all three to Paris and Bernard's apartment at the same time.

    A composer coming to terms with his genius. And, even though they're separated by 200 years, these two people share an obsession that might, even just for a moment, make time stand still. Drama, memory and music combine to transport you from present-day New York to nineteenth-century Austria in this extraordinary American play about passion, parenthood and the moments of beauty that can transform a life.

    Her characters suffer and survive against the enormous weight of the times with a dignity that inspires. Her work challenges the audience and reader to reexamine the conflicts and meaning of our everyday lives through her singular, poetic imagery and language.Includes: One Flea SpareIn the Heart of AmericaSlaughter CityThe War BoysThe Trestle at Pope's Creek

    There’s still something disturbing, I grant you, about the word “actress”. If an MP or some other outstanding person plays fast and loose with an actress the world is unsurprised. She is certainly no better than she should be, and probably French…’ As well as being a mother (to the actresses Sophie and Emma Thompson) and a devoted carer to her own mother and mother-in-law, Phyllida Law is also a distinguished actress, and Dead Now Of Course is the tale of her early acting career.As a young member of a travelling company, Phyllida learned to cope with whatever was thrown at her, from making her own false eyelashes to battling flammable costumes and rogue cockroaches. We find her in Mrs Miller’s digs, which were shared with a boozy monkey bought from Harrods, an Afghan hound known as the ‘the flying duster’, several hens and various children.Filled with funny, charming anecdotes, Dead Now Of Course paints a fascinating picture of life in the theatre – and at the heart of the story is an enchanting account of Phyllida’s courtship with her future husband, the actor and writer Eric Thompson.

     From Fred Astaire, whom she adores, to La La Land, which she deplores, Basinger examines a dazzling array of stars, strategies, talents, and innovations in the history of musical cinema. Whether analyzing a classic Gene Kelly routine, relishing a Nelson-Jeanette operetta, or touting a dynamic hip hop number (in the underrated Idlewild), she is a canny and charismatic guide to the many ways that song and dance have been seen--and heard--on film. With extensive portraits of everyone from Al Jolson, the Jazz Singer; to Doris Day, whose iconic sunniness has overshadowed her dramatic talents; from Deanna Durbin, that lovable teen-star of the '30s and '40s; to Shirley T. and Judy G.; from Bing to Frank to Elvis; from Ann Miller to Ann-Margret; from Disney to Chicago . . . focusing on many beloved, iconic films (Top Hat; Singin' in the Rain; Meet Me in St. Louis; The Sound of Music) as well as unduly obscure gems (Eddie Cantor's Whoopee!; Murder at the Vanities; Sun Valley Serenade; One from the Heart), this book is astute, informative, and pure pleasure to read.

    Here, he shares his views on it all--from building tension and plotting a scene, right down to moving a character from one side of the stage to the other. From crafting an intriguing beginning to delivering a satisfying ending.In Hatcher's one-on-one discussions with acclaimed American playwrights Lee Blessing, Marsha Norman and Jose Rivera, you'll find a wealth of practical advice, tricks of the trade and insight that will help you in your own creative efforts.