He enlists the aid of his lifelong buddy, Aldo Scalicki, a confirmed bachelor who tries, without apparent success, to convince Huey that he would be better off sticking with his new lady friend, Teresa, a usually placid young waitress whose indignation flares when she learns what Huey is up to. In a moonlit balcony scene (hilariously reminiscent of Cyrano de Bergerac) Aldo pleads his lovesick friend's case and, to his astonishment, Janice capitulates although not for long. However we do learn that her earlier abuse of Huey was intended to make him "act like a man" which, at last, he does. And, more than that, he (and the audience) become aware that, in the final essence, "the greatest and only success is to be able to love" a truth which emerges delightfully from the heartwarming, wonderfully antic and always imaginatively conceived action of the play.

    The cruel bon mot which has its sting drawn from the laughter that ensues. It was Oscar Wilde who pointed out that no comment was in bad taste if it was amusing - and if for that reason alone it is worth while preserving these delightful examples of verbal dexterity.

     When workaholic Eleanor receives an anonymous message that her estranged brother Dennis is dead, at first she doesn’t believe it. But when attempts to contact him fail, she puts her upcoming work project on hold and rushes to Finnick, Louisiana — the small, backward town where her brother lived. There, the locals tell her that Dennis committed suicide, although she isn’t so sure about that. Eleanor temporarily settles into Dennis’s creepy, turn-of-the-century house, intending to only stay long enough to pack his few belongings. But that night, Eleanor spots a young boy in the cemetery behind Dennis’s house, speaking to the gravestones. When she approaches him, Eleanor’s interruption of the boy’s ritual sets off a chain reaction of horror she could have never prepared for. The footsteps downstairs, the voices, and the shadowy apparitions are only the beginning. Dennis wasn’t alone in that house, and neither is she. Eleanor soon learns that the boy is being oppressed by a demonic entity. What’s worse, her brother Dennis had also interfered with the boy’s nightly ritual and incurred the wrath of the evil spirit. Now Eleanor must finish what her brother started — to rescue the boy from the clutches of hell before he loses his soul forever. But why is the demon so interested in the boy? What does it want? Eleanor discovers there are others in Finnick who know of the boy’s nightly visits to the graveyard and want them to continue. And they will do whatever it takes to stop Eleanor from ruining their carefully laid plans. The Gravewatcher is the debut novel from supernatural horror author Rockwell Scott.

    from the inside.Before anyone can make sense of it, something not from this world kills a postman stranded on the other side of the door. And when the town's old evacuation sirens begin to blare, Yuri and everyone else in the building realize an impenetrable door could be the least of their worries. In fact, it could be the only thing standing between them and the otherworldly creatures roaming the now deserted streets outside...Someone in the building knows what's going on. Now, it's up to Yuri to figure out who it is, what they know, how these events are linked to their town's past, and how to lead everyone to safety - before the threats lurking outside find their way in.

    Penny Bartlett has loved John Dean from afar for years. Will two arrivals to Green Valley prevent Penny from revealing her true feelings to him?From the bestselling author of Australian outback romance. Over 12 million books sold worldwide.When Ross Bennet returns home to the neighbouring estate he doesn't hide his interest in Penny. But Penny long ago gave her heart to family-friend John Dean, despite their ten-year age difference. Could John recognise that Penny is now a young woman, or will she be pushed into Ross's arms?There are more complications when Miss Lucille Ditton comes to the Bartlett homestead as housekeeper. Her brisk efficiency soon seems more like interfering to Penny. Then Miss Ditton crosses a boundary which Penny finds difficult to forgive.Thanks to unsubtle hints from Miss Ditton, everyone in the valley assumes that Penny and Ross will marry. Has Miss Ditton made an innocent mistake, or is her real intention to win John Dean for herself?

    Combining his wisdom and insight, Henry shows you that the key to keeping a positive attitude—in the face of difficult and unexpected challenges—is to accept that seemingly negative experiences, such as failures, disappointments, mistakes and misfortunes, are actually the ultimate markers of human success. Sharing the lessons he learned after a freak accident left him paralysed from the neck down, Henry shows us that setbacks are inevitable in life but defeat is optional. He will encourage you to always search for a new perspective if what you see, at first, seems only dark, limiting or frightening. He believes there is always a reason to be grateful. The Power of Acceptance inspires you to accept yourself and to release negative feelings towards things, situations or people that you have no control over and cannot change. Henry reveals the simple words you can say to yourself and the practical changes you can make to become someone who adapts to unpredictable events and obstacles, and who accepts whatever hand they are dealt in this crazy game called life.

    or take it. Conor Doyle is a haunted man. In the winter of 1988, he returns from London to his old home town in Western Ireland, hoping to find a reason to stay. What he thought would be a joyful reunion becomes something more, as he's drawn into the fallout surrounding a shocking crime. While the Irish Garda are looking for the prime suspect, Conor's relationships are tested with jealousy and betrayal, and he must look deep inside himself to make the decision that will change his life forever.

    This guide to stage management, aimed at aspiring stage managers, features all they need to know when staging a production, including methods which employ computer technology.

    Brad Morris likes to think of himself as one of the best: an assassin at the top of his game. For years, he’s juggled work and family — attentive husband and loving father by day, cold-blooded killer by night.But when the charismatic neighbor that Brad openly despises turns up dead on the same night he was out on a hit, Brad suddenly finds himself a prime suspect. His wife lies to the police but her lie only lands him deeper in trouble, and it’s clear she thinks he might be guilty too.Brad’s being framed and he knows it, but it’s nearly impossible for him to prove his innocence without admitting he’s an assassin.Can he catch the killer without endangering his family — or blowing his own cover?Dead For Good, Book 1 is the first book in the new Stacy Claflin and Nolon King Dead For Good series.

    But before Meg can take her first steps into the unknown alone, she must look to her past. Why, she wonders, did her mother wear a wedding ring but never marry? Why, for instance, does the tallyman never call at No. 3 Tippet's Yard to collect any rent? He does everywhere else. With Ma gone, Meg must go back to her roots to uncover her 'family tree'. However, the process of simplfying her life leads to unforseen complications. But there's always Kip, reliable and loving, to pick up the pieces of her unsolved life and love.

    Jon, guilt-ridden because he forgot to make sure his son had buckled up, will do anything to save his relationship with his wife. Bartender Elle doesn’t believe in guilt, even as it accelerates her descent into alcoholism. Narcotics officer Harvey has been stealing seized drug money for months to pay off his grandparent’s debt, unaware his superiors are onto him. Their struggles morph from difficult to life-threatening when Lee’s spirit finds each of them.They all think they know what Lee’s spirit is after. They’re all wrong. Drawn ever-closer together, their mistakes and misdeeds accumulate until Lee’s spirit latches onto one of them, and if they can’t figure out the truth in time, everybody they care about might die.

    All worth can be quantified. Artistic worth. Human worth. Material worth. Everything. Some food is simply better than other food. Isn't it? Some clothes are better than other clothes. Aren't they?The last week of a massive international tour and rock star Paul is at the height of his fame. Everybody knows his name. Whatever he wants he can have. He can screw anybody he wants to. He can buy anything he desires. He can eat anything. Drink anything. Smoke anything. Go anywhere. As the inevitability of the end of the road looms closer and a return home becomes a reality, for Paul the music is starting to jar.Birdland received its world premiere at the Royal Court Theatre Downstairs on 3 April 2014.

    Twenty miles up the Hudson River from Manhattan and the contemporary art scene Lissa wants to avoid, Tarrytown has a charming Main Street where she can set up her easel and paint, immersed in her subject, the way her beloved French Impressionists did. Charismatic cop Nick Bellini, whose family owns the ice cream shop she's painting, soon notices her expertise and asks her to be on the lookout for phony masterpieces he's heard are being made in town. She hesitates, afraid of being sued by unhappy art collectors, but takes the plunge after seeing a questionable Monet in the home of a local power couple. The danger goes from professional to personal when, responding to a vague request for help from another artist, she walks into his studio and finds him dead. Is there a link to the forgeries? Is someone in the arts community a murderer? Will Lissa be the next target?

    He explores the queasy relationships between life and art, love and estrangement, and the bane that is American identity drift, with unsparing but compassionate candor.” –Misha Berson, Seattle Times“Margulies’s remarkable gift of building characterization through realistic dialogue is undiminished. Full of aching ruefulness that underlies the comedy, Brooklyn Boy’s scenes are written with precision and humor. The play isn’t about Brooklyn, nor is it about a boy—it’s about a man without a home.” –Don Shirley, Los Angeles TimesThis new play by the Pulitzer Prize-winning author of Dinner with Friends follows the career of Eric Weiss, a writer whose novel hits the bestseller list the same time his life begins to unravel. His wife is out the door, his father is in the hospital, and his childhood friend thinks he has sold himself to the devil. A funny and emotionally rich look at family, friends and fame.Donald Margulies received the 2000 Pulitzer Prize for Drama for Dinner with Friends. The play received numerous awards, including the American Theatre Critics Association New Play Award, the Dramatists Guild/Hull-Warriner Award, the Lucille Lortel Award, the Outer Critics Circle Award and a Drama Desk nomination, and has been produced all over the United States and around the world. In addition to his adaptation of God of Vengeance, his many plays include Collected Stories, The Country House, Sight Unseen, The Model Apartment, The Loman Family Picnic, What’s Wrong with This Picture? and Time Stands Still. Mr. Margulies currently lives with his wife and their son in New Haven, Connecticut, where he teaches playwriting at Yale University.

    From that period, the regulations adopted by the Grand Lodge of England ceased to have any binding efficacy over the craft in this country, while the laws passed by the American Grand Lodges lost the character of general regulations, and were invested only with local authority in their several jurisdictions.Before concluding this introductory section, it may be deemed necessary that something should be said of the "Ancient Landmarks of the Order," to which reference is so often made.Various definitions have been given of the landmarks. Some suppose them to be constituted of all the rules and regulations which were in existence anterior to the revival of Masonry in 1717, and which were confirmed and adopted by the Grand Lodge of England at that time. Others, more stringent in their definition, restrict them to the modes of recognition in use among the fraternity. I am disposed to adopt a middle course, and to define the Landmarks of Masonry to be, all those usages and customs of the craft--whether ritual or legislative--whether they relate to forms and ceremonies, or to the organization of the society--which have existed from time immemorial, and the alteration or abolition of which would materially affect the distinctive character of the institution or destroy its identity. Thus, for example, among the legislative landmarks, I would enumerate the office of Grand Master as the presiding officer over the craft, and among the ritual landmarks, the legend of the third degree. But the laws, enacted from time to time by Grand Lodges for their local government, no matter how old they may be, do not constitute landmarks, and may, at any time, be altered or expunged, since the 39th regulation declares expressly that "every annual Grand Lodge has an inherent power and authority to make new regulations or to alter these (viz., the thirty-nine articles) for the real benefit of this ancient fraternity, provided always that the old landmarks be carefully preserved." Download The Principles Of Masonic Law Now!