His family didn’t always have it good. His father, a criminal lawyer, succumbed to a celebral stroke when Virat was very young, depriving him of someone he calls his ‘biggest support’ both on and off the field. The son paid his tribute to Prem Kohli in a way the older man himself would have applauded: Virat Kohli returned to the field to continue an innings a few hours after he lost him. ‘He was the one who drove me to practice every day, ’ the captain of the Indian cricket team recalls with his characteristic humility and grace. Widely read sports journalist Vijay Lokapally goes on to record happier times on the journey of Virat’s rapid rise to international stardom, an account punctuated by little-known stories by his fellow players, coaches and intimates. At 28, he has already been the recipient of countless accolades — not the least of them being the Arjuna Award and the title of BCCI’s ‘International Cricketer of the Year’ for the 2011-12 and 2014-15 seasons. He was the ICC’s ‘ODI Player of the Year’ as early as in 2012. On a more commercial note, British journal SportsPro pronounced him the ‘second-most marketable athlete in the world’ just two years later. But for the Run Machine, it’s not about the money or fame or the roar of the crowds or that women of all ages vie for the wide-eyed attention of his extraordinary gaze. Few incidences have been reported of his open hearted altruism, his numerous charities for under-privileged children and his sheer pluck when the odds are against him. But what has not escaped the public eye is how this wizard of the willow and wicket wears his heavy mantle with such insouciant ease.

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

    Together they provide a complete painting programme.

     She was a gifted midwestern beauty, the daughter of Ohio State University's marching band director: to dance on Broadway. Soon after high school graduation, Catherine left Columbus for New York City, determined to be a star. Three years later, she was dead -- murdered in cold blood in her East Side apartment. The shocking revelations that emerged from the police investigation made tabloid headlines: few knew that the struggling artist paid her bills by dancing in a topless club. But there was another hidden facet to Catherine's life -- a shattering love triangle with two men, one of whom would ultimately be convicted of her brutal stabbing death. It's a chilling account of obsession, violence, and the surprising, minute evidence on which the entire case hinged. For a talented young woman reaching for the top, and the heartbroken family she left behind, it is truly the death of a dream.

    In this lively book, Stacy Wolf illuminates the women of American musical theatre - performers, creators, and characters -- from the start of the cold war to the present day, creating a new, feminist history of the genre. Moving from decade to decade, Wolf first highlights the assumptions that circulated about gender and sexuality at the time. She then looks at the leading musicals to stress the keyaspects of the plays as they relate to women, and often finds overlooked moments of empowerment for female audience members. The musicals discussed here are among the most beloved in the canon--West Side Story, Cabaret, A Chorus Line, Phantom of the Opera, and many others--with specialemphasis on the blockbuster Wicked. Along the way, Wolf demonstrates how the musical since the mid-1940s has actually been dominated by women--women onstage, women in the wings, and women offstage as spectators and fans.

    

     Goddess Lakshmi and Goddess Saraswati promise nothing short of a grand transformation of humanity with the birthing of a new joy-centered consciousness on Earth at this time. They take us on a grand spiritual journey by weaving new insights into ancient teachings, correcting what has been altered in scriptures by their "male" authors, and revealing new secrets about Buddhas, and Gods and Goddesses who have walked on Earth. Whether it is Eve's original sin or the closing of magnificent Goddess Temples or Sita's Fire Test or Mary Magdalene's depiction as a prostitute, "enlightened women" have been portrayed as sinners by numerous kings, emperors, writers, popes, and other religious heads for millennia. The messages of Goddesses Lakshmi and Saraswati correct many misconceptions and misrepresentations about the "patriarchal" stories from Christianity, Hinduism, and Buddhism. These profound messages by the two ascended Goddesses will delight you, surprise you, transform you, and even enlighten you.  Goddesses Lakshmi and Saraswati also reveal new information and intimate secrets about their many incarnations on Earth with Rama, Krishna, Buddha, and other divine beings. They reveal how the transformation of many souls from their ancient tribe created two of the major world religions known as Hinduism and Buddhism.  This book is not only about spirituality, but also about history, philosophy, religion, and psychology. Goddess Lakshmi and Goddess Saraswati provide new insights on mind, body, soul, chakras, elements, contrast, time, destiny, karma, sensuality, tantra, higher self, heavenly realms, expanding levels of enlightenment, ascension, and of course the author’s favorite – a new way of experiencing the “divine feminine” within oneself.  This is the first book in the Ascended Goddesses Series. Future books in this series will have conversations with Goddesses Parvati, Mother Mary, Kuan Yin and Tara, among others.  JOIN OUR TEAM OF VOLUNTEERS  The Path of Joy Organization is donating 5,000 copies of this book to uplift disempowered girls, women, and mothers, elderly living in old age homes, handicapped people, young adults with challenges, patients in hospitals, and numerous NGOs all over the world. Send an email to join our team of volunteers to distribute the 5000 copies.  The author recently signed an MOU with RENEW (Respect, Educate, Nurture, and Empower Women - http://renew.org.bt/) to donate 600 copies of this book to their 600 active volunteers, who provide help to the disempowered girls and women in Bhutan.  Another 100 copies of this book were sent to the volunteers and interns of Apne Aap Women Worldwide (http://apneaap.org/), an organization that saves girls and women from sex trafficking and other forms of exploitation.  Even a Buddhist "nunnery" in Punakha founded by the Queen Mother of Bhutan took 120 copies for their 120 resident nuns. The many stories of enlightenment of Eve, Sita, Radha, Yasodhara, Yeshe Tsogyal and other women help in undoing the widely-held Buddhist belief that incarnating as a woman is inferior to incarnating as a man for spiritual attainment.

    The struggle of the self to remain intact has moved in her work from civil war, into the family, into the couple, into the individual, and finally into the theatre of phychosis: the mind itself. This play was written in 1999 shortly before the playwright took her own life at age 28. On the page, the piece looks like a poem. No characters are named, and even their number is unspecified. It could be a journey through one person's mind, or an interview between a doctor and his patient.

    His career has spanned more than half a century, his lyrics have become synonymous with musical theater and popular culture, and in Finishing the Hat—titled after perhaps his most autobiographical song, from Sunday in the Park with George—Sondheim has not only collected his lyrics for the first time, he is giving readers a rare personal look into his life as well as his remarkable productions.Along with the lyrics for all of his musicals from 1954 to 1981—including West Side Story, Company, Follies, A Little Night Music and Sweeney Todd—Sondheim treats us to never-before-published songs from each show, songs that were cut or discarded before seeing the light of day. He discusses his relationship with his mentor, Oscar Hammerstein II, and his collaborations with extraordinary talents such as Leonard Bernstein, Arthur Laurents, Ethel Merman, Richard Rodgers, Angela Lansbury, Harold Prince and a panoply of others. The anecdotes—filled with history, pointed observations and intimate details—transport us back to a time when theater was a major pillar of American culture. Best of all, Sondheim appraises his work and dissects his lyrics, as well as those of others, offering unparalleled insights into songwriting that will be studied by fans and aspiring songwriters for years to come. Accompanying Sondheim’s sparkling writing are behind-the-scenes photographs from each production, along with handwritten music and lyrics from the songwriter’s personal collection. Penetrating and surprising, poignant, funny and sometimes provocative, Finishing the Hat is not only an informative look at the art and craft of lyric writing, it is a history of the theater that belongs on the same literary shelf as Moss Hart’s Act One and Arthur Miller’s Timebends. It is also a book that will leave you humming the final bars of Merrily We Roll Along, while eagerly anticipating the next volume, which begins with the opening lines of Sunday in the Park with George.

    Splendid translations of the poems, with the Russian on a facing page, and a fresh, colloquial version of Mayakovsky's dramatic masterpiece, The Bedbug.

    Find out how God turned a rebellious teenager living in a cave into a tremendous soul-winner for Jesus Christ.

    She has spent her career on both sides of the auditioning process, both as an award-winning casting director who has worked with Harold Prince, Bernard Bertolucci, and James Ivory, and as an accomplished actor herself. In this highly informative and accessible book, Merlin provides everything the actor needs to achieve self-confidence and artistic honesty–from the most basic practical tips to an in-depth framework for preparing a part. Filled with advice from the most esteemed people in the business, such as James Lapine, Nora Ephron, and Stephen Sondheim, and charged with tremendous wisdom and compassion, this indispensable resource will arm the reader to face an actor's greatest challenge: getting the part.

    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.

    The author carries us through a number of varied scenes and shows us not only a somewhat unflattering picture of womanhood, but digging under the surface, reveals a human understanding for and sympathy with some of its outstanding figures. The plot involves the efforts of a group of women to play their respective roles in an artificial society that consists of vain show, comedy, tragedy, hope and disappointment.

    The author's enthusiasm for and knowledge of the current theatre, highlighted by contemporary production shots from around the world, put the students in the front row.