Winner of the 2011 Christopher Ewart-Biggs Literary Award, and nominated for the 2009-2010 PEN/JR Ackerley prize.On the August bank holiday weekend in 1979, 14-year-old Timothy Knatchbull went out on a boat trip off the shore of Mullaghmore in County Sligo, Ireland. It was a trip that would cost four lives - and change his own for ever.The IRA bomb that exploded in their boat killed Knatchbull's grandfather Lord Mountbatten, his grandmother Lady Brabourne, his twin brother Nicholas, and local teenager Paul Maxwell. In telling this story for the first time, Knatchbull is not only revisiting the terrible events he and his family lived through, but also writing an intensely personal account of human triumph over tragedy.For thirty years, Knatchbull has lived with the echoes of that day: the death of the twin from whom he had been inseparable; the loss of his adored grandparents, whose funerals along with his twin's he and his parents were too injured to attend; the recovery from physical wounds; and the emotional legacy that proved harder to endure.In From A Clear Blue Sky Timothy Knatchbull delves into his past, present and future, and reveals a story of courage and fortitude as he, his family, and their English and Irish friends dealt with the shocking assassinations and their aftermath. Taking place in Ireland at the height of the Troubles, it gives a compelling insight into that period of Irish history. But more importantly it brings home that although tragedy can strike at any moment, the human spirit is able to recover and evolve over time.This book about truth and reconciliation, unflinching in its detail, asks searching questions about why human beings inflict misery on others, and holds lessons about how we can learn to forgive, to heal and to move on. It will resonate with readers the world over.

    Unwilling to accept the idea of the twice-married American as future Queen of England, the government was determined to pressure the King into giving up Mrs. Simpson and, when that failed, into giving up his crown. The King's phone lines were tapped by his own government, dubious police reports poisoned Mrs Simpson's reputation, and threats to sabotage her divorce were deployed to edge the King towards abdication.The hopeless attempts of the King's allies, particularly Winston Churchill, to keep him on the throne were dismissed as sinister conspiracy, whilst the King wrecked his own chances with wildly unrealistic goals and ill-thought-out schemes that served only to frame him as erratic and unreliable as a monarch. As each side was overwhelmed by desperation and distrust, Prime Minister Stanley Baldwin fought to steer events to a smooth conclusion.In this fascinating behind-the-scenes account of the royal abdication crisis of 1936, Adrian Phillips reveals the previously untold story of the hidden political machinations and insidious battles in Westminster and Whitehall that settled the fate of the King and Mrs Simpson.

    As the country celebrates, the new monarch must face one of the most difficult challenges he has ever encountered: the dreaded BBC Radio Broadcast to the Nation. Only one man can prepare the terrified King for his ordeal at the microphone – Australian speech therapist Lionel Logue. With his unconventional methods such as tongue-twisters, breathing exercises, and Shakespearean quotations, and a variety of teaching styles ranging from empathy to bullying, Logue aims to give George VI the confidence to navigate the minefield ahead. As the two men wrestle with the intricacies of the speech, their conversation ranges from the Abdication Crisis to the King's childhood and his uneasy relationship with his father - and the King's dependence on and deep friendship with Logue becomes apparent.Starring Alex Jennings as George VI and Trevor Littledale as Logue, this is a riveting portrait of a prominent man at a pivotal moment in his own life and in the history of the 20th century. Running time 45 minutes.

    Yet it is the people around him we remember: his wife Eleanor, whom he seduced from the French king; his son Richard the Lionheart; Thomas Becket, murdered in his cathedral. Who was this great, yet tragic king? For fans of Dan Jones, George RR Martin and Bernard Cornwell.The only thing that could have stopped Henry was himself.Henry II had all the gifts of the gods. He was charismatic, clever, learned, empathetic, a brilliant tactician, with great physical strength and an astonishing self-belief. Henry was the creator of the Plantagenet dynasty of kings, who ruled through eight generations in command of vast lands in Britain and Europe. Virtually unbeaten in battle, and engaged in a ceaseless round of conquest and diplomacy, Henry forged an empire that matched Charlemagne’s.It was not just on the battlefield that Henry excelled; he presided over a blossoming of culture and learning termed ‘the twelfth century Renaissance’, pursued the tenets of reason over religious faith, and did more to advance the cause of justice and enforce the rule of law than any other English monarch before or since. Contemporaries lauded his greatness and described him as their ‘Alexander of the West’.And yet it is the people around him who are remembered: his wife Eleanor of Aquitaine, whom he seduced away from the French king; his sons Richard the Lionheart and John; Thomas Becket, murdered in his cathedral. Henry – so famed during his lifetime – has slipped into the shadows of history. King of the North Wind offers a fresh evaluation of this great yet tragic ruler.Written as historical tragedy, it tells how this most talented of kings came into conflict with those closest to him, to become the most haunted.

    A family chronicle based on two romances--that of Elizabeth Barrett and Robert Browning and that of her sister and a soldier.

    After his older brother abdicated to marry Wallis Simpson, the younger George (born Albert) assumed the throne at a crucial time in history, with Hitler and Mussolini allied and Europe moving inexorably towards war. 16 pages of photographs.

    An alternative title, All is True, is recorded in contemporary documents, the title Henry VIII not appearing until the play's publication in the First Folio of 1623. Stylistic evidence indicates that individual scenes were written by either Shakespeare or his collaborator and successor, John Fletcher. It is also somewhat characteristic of the late romances in its structure. It is noted for having more stage directions than any of Shakespeare's other plays.[1]During a performance of Henry VIII at the Globe Theatre in 1613, a cannon shot employed for special effects ignited the theatre's thatched roof (and the beams), burning the original building to the ground.

    He spent sixty-three of his eighty-nine years in the House of Commons and was prime minister four times, a unique accomplishment. From his critical role in the formation of the Liberal Party to his preoccupation with the cause of Irish Home Rule, he was a commanding politician and statesman nonpareil. But Gladstone the man was much more: a classical scholar, a wide-ranging author, a vociferous participant in all the great theological debates of the day, a voracious reader, and an avid walker who chopped down trees for recreation. He was also a man obsessed with the idea of his own sinfulness, prone to self-flagellation and persistent in the practice of accosting prostitutes on the street and attempting to persuade them of the errors of their ways. This full and deep portrait of a complicated man offers a sweeping picture of a tumultuous century in British history, and is also a brilliant example of the biographer’s art.

    They all shared an inbred sense of duty and a genuine desire to see it performed. None fought against what she saw as her destiny but only sought to fulfill it. Some were passionate, others less so. Some were good wives; some were caring mothers. They were all catalysts, the pivots of their worlds for a time. More than just a window into the politics and power brokering of royal marriage, Crowned in a Far Country charts the transformations of privileged princesses into women of power and historical importance.

    From his christening - which Queen Victoria attended - to his days as Supreme Commander in South-East Asia during World War II, to India where he oversaw the move to independence, to the Suez crisis, we discover a man who, for all the glitter and the gold, was nothing if not human.

    Also living in Zurich at this time was a British consula official called Henry Carr, a man acquainted with Joyce through the theater and later through a lawsuit concerning a pair of trousers. Taking Carr as his core, Stoppard spins this historical coincidence into a masterful and riotously funny play, a speculative portrait of what could have been the meeting of these profoundly influential men in a germinal Europe as seen through the lucid, lurid, faulty, and wholy riveting memory of an aging Henry Carr.

    Devout court composer Antonio Salieri plots against his rival, the dissolute but supremely talented Wolfgang Amadeus Mozart. How far will Salieri go to achieve the fame that Mozart disregards? The 1981 Tony Award winner for Best Play. An L.A. Theatre Works full cast performance featuring: Steven Brand as Baron van Swieten James Callis as Mozart Michael Emerson as Salieri Darren Richardson as Venticello 2 Alan Shearman as Count Orsini-Rosenberg Mark Jude Sullivan as Venticello 1 Simon Templeman as Joseph II Brian Tichnell as Count Johann Kilian Von Strack Jocelyn Towne as Constanze Directed by Rosalind Ayres. Recorded in Los Angeles before a live audience at The James Bridges Theater, UCLA in September of 2016.

    A horribly deformed young man, who has been a freak attraction in traveling side shows, is found abandoned and helpless and is admitted for observation to Whitechapel, a prestigious London hospital. Under the care of a famous young doctor, who educates him and introduces him to London society, Merrick changes from a sensational object of pity to the urbane and witty favorite of the aristocracy and literati. But his belief that he can become a man like any other is a dream never to be realized.

    Presents the screenplay of the classic cult film by Bruce Robinson, with an introduction by the director.

    The popular image of the men who made the bomb is of dispassionate intellects who number-crunched their way towards a weapon whose devastating power they could not even imagine. But in his Tony Award-winning play Copenhagen, Michael Frayn shows us that these men were passionate, philosophical, and all too human, even though one of the three historical figures in his drama, Werner Heisenberg, was the head of the Nazis' effort to develop a nuclear weapon. The play's other two characters, the Danish physicist Niels Bohr and his wife, Margrethe, are involved with Heisenberg in an after-death analysis of an actual meeting that has long puzzled historians. In 1941, the German scientist visited Bohr, his old mentor and long-time friend, in Copenhagen. After a brief discussion in the Bohrs' home, the two men went for a short walk. What they discussed on that walk, and its implications for both scientists, have long been a mystery, even though both scientists gave (conflicting) accounts in later years. Frayn's cunning conceit is to use the scientific underpinnings of atomic physics, from Schr?dinger's famous cat to the Heisenberg uncertainty principle, to explore how an individual's point of view renders attempts to discover the ultimate truth of any human interaction fundamentally impossible. To Margrethe, Heisenberg was always an untrustworthy student, eager to steal from her husband's knowledge. To Bohr, Heisenberg was a brilliant if irresponsible foster son, whose lack of moral compass was part of his genius. As for Heisenberg, the man who could have built the bomb but somehow failed to, his dilemma is at the heart of the play's conflict. Frayn's clever dramatic structure, which returns repeatedly to particular scenes from different points of view, allows several possible theories as to what his motives could have been. This isn't the first play to successfully merge the world