Musical. STINKFOOT is an absurdist musical written by former Bonzo Dog Band frontman Vivian Stanshall (1943-1995) and his wife Ki Longfellow-Stanshall for their Old Profanity Showboat in Bristol. The musical was performed in December 1985 but has not been published before. The Sea Urchin edition will contain the script of the musical, lyrics and artwork by Vivian Stanshall, photos of the Bristol performances and an introduction by Ki Longfellow-Stanshall.

    Book by McLure, James

    

    The game setting? A subdivision with identical houses. The goal? Smash through an army of zombies to escape the neighborhood for good. But as the line blurs between virtual and reality, both parents and players realize that fear has a life of its own. "Playing like a nifty episode of 'The Twilight Zone', the story builds to an affectingly grues

    He or she must have a working knowledge of how the various technical aspects of the theater work (scenery, props, costumes, lights and sound), be part director, part playwright, part designer and part producer, and be prepared to act as confidant, counselor and confessor to everyone else in the company.This book addresses all of these considerations in detail and offers the reader-professional or amateur, veteran or beginner-helpful guidance and practical advice, supported by many forms and examples to illustrate the points covered in the text.The three phrases of mounting and performing a show are covered. Part I takes the reader through the pre-production phase-research, the script, planning and organization, and auditions. Part II covers the rehearsal process-rehearsal rules, blocking, cues, prompting, information distribution, technical and dress rehearsals. Part III discusses the performance phase-calling the show, maintaining the director's work, working with understudies and replacements, and more.Part IV provides insights into the organizational structure or some theaters and aspects of human behavior in those organizations. Many stage managers of long-running commercial productions believe that-once the show is up and running-only ten percent of their work is related to everything covered in Parts I, II and III. The other ninety percent is associated with issues in Part IV; i.e. managing human behavior and maintaining working relationships.

    Ed Brady and his two sons have relied solely on each other in order to survive a world completely devoid of stability and structure. Their goal: reach the city by the river where they may have some chance of finding salvation.As Ed and his boys travel across the wasteland that was once the Midwestern United States, they encounter other survivors along the way: Trish Connor, who discovers that some of the worst monsters in the new world aren’t the infected. Dave Porter, his wife and their friend, who eke out a living scavenging houses until their survival is threatened by two gunmen. Brenda Peterson and Tammy Koch, misfits in the old world, whose friendship will be tested by new acquaintances. And Mitchell Burdette, a grizzled old gunslinger who finds redemption and purpose after losing everything to the virus.As their paths inevitably intertwine, Ed must remain steadfast that his sworn mission to see that his boys know safety and happiness is not compromised. Surrounded by the constant threat of attack, can they make it to the city before their luck runs out? And if they can, what will be waiting for them there when they arrive? Will the city be the safe haven they so desperately need, or will it be just another ruined metropolis teeming with hordes of the infected?

    The first of the plays, The Real Inspector Hound, is the longer of the two; here the author has created a looking glass comedy of great suspense and intrigue about two drama critics. The second play, After Magritte, is 'a surrealist comedy in detective form-or is it a comedy in surrealist form? A husband and wife argue whether the figure they saw in the street was a one-legged football player with the ball under his arm, or a man in pajamas with a tortoise under his arm. The play shows that Stoppard is as amusing and clever as always.'

    BAGGAGE will touch readers at many levels; it is as edgy and fearless as Janet Street-Porter herself.

    "What Lenny Bruce was to the 1950s, Bob Dylan to the 1960s, Woody Allen to the 1970s--that's what Eric Bogosian is to this frightening moment of drift in our history."--Frank Rich, The New York Times

    But at the moment, she's living in New York City and writing advertising jingles to pay the rent while her fiancé, Jack, pursues his singing career. So when Amanda's mother, Kim, calls one evening from New Hampshire and asks for her help with something she can't discuss over the phone, Amanda is only too happy to leave New York. Once home, Kim reveals that she's leaving Amanda's father and needs help packing. Amanda balks and ends up (gently) hitting the postman, who happens to be her first boyfriend. They spend the night together in an apple orchard, where Amanda tries to tell Billy how her life got sidetracked. It has something to do with being a young woman in a profession that only recognizes famous men. Billy acts like he might have the answer, but doesn't. Neither does Amanda's mother. Or, for that matter, her father. A Feminine Ending is a gentle, bittersweet comedy about a girl who knows what she wants but not quite how to get it. Her parents are getting divorced, her fiancée is almost famous, her first love reappears, and there's a lot of noise in her head but none of it is music. Until the end. "Ending′ is a promising beginning...the playwright has a sense of humor that brings to mind a budding Wendy Wasserstein and a liberated sense of form that evokes a junior Paula Vogel."-Los Angeles Times "Darkly comic. FEMININE ENDING has undeniable wit." -New York Post. "Appealingly outlandish humor." -The New York Times. "Courageous. The 90-minute piece swerves with nerve and naivete. Sarah Treem has a voice all her own." -Newsday.

    Over the course of eighteen shows, Mordden demonstrates that Sondheim is a classical composer who happens to write musicals. Sondheim has intellectualized the musical by tackling serious content usually reserved for the spoken stage: nonconformism (in Anyone Can Whistle, 1964), history (in Pacific Overtures, 1976), and cannibalism as a metaphor for class warfare (Sweeney Todd, 1979). Yet his work combines complex music and intellectual plots with a masterly skill for the fabric of theatre. His shows are all intensely theatrical, produced with flair and brilliance, whether in the lush operetta of A Little Night Music (1973) or the quixotic fairy-tale magic of Into the Woods (1987).Mordden provides fresh insights and analyses of every Sondheim show, from his first hit (West Side Story, 1957) to his most recent title (Road Show, 2008). Each musical has a dedicated chapter, including articles on Sondheim's life and his major influences, and comprehensive bibliographical and discographical essays place the Sondheim literature and recordings in perspective. Writing with his usual blend of the scholarly and the popular - with a wicked sense of humor - Ethan Mordden reveals why Stephen Sondheim has become Broadway's most significant voice in the last fifty years.

    How will she cope? At least she can talk to her best friend Clarky about it. He’s always been there for her, even if her husband Finn suspects ulterior motives.

    Level one is the most common, possible evidence. Level two, clear evidence of non-human intelligence. Level three is verified signs of non-human intelligence. Level three has a very high burden of proof, requiring verified artifacts. It is the last step before level four. Contact.Centuries ago, Humanity reached for the stars. But the galaxy has turned out to be a lonely place. The Imperial Survey Service explores systems and identifies planets for colonization beyond the edge of explored space, beyond the rim worlds. They also search for signs of an alien civilization. It is a part of their mission they take very seriously.A routine planetary survey mission to system X5682 believes they have found clear evidence of intelligent activity. The usual reports are made. Protocol demands that any reports of potential intelligent activity be investigated. A small fleet task force is dispatched. Their job is to secure the system. Task force Marines secure the site until Imperial Survey can verify the find. The routine has been played out many times, and always ends the same way. No scientific findings, an explainable phenomenon, no confirmation.Until now.The survey team leader is elated by his potential discovery. It is an elation the fleet task force commander does not share. His captains are also ambivalent, save one who is out to prove himself.Unfortunately, the fleet task force has to be to be cobbled together from people unfortunate enough to delay too long before proceeding on shore leave. The Marines are not exactly welcome in the midst of a group of scientists who are used to being immersed in their research on a new planet.The Imperial Fleet mostly keeps the peace and war is a faded memory. That means resources are tight and ships stay in service a long time. The task force that arrives is not exactly in perfect condition. Even the Marines have to be pulled from different ships and base assignments. Everyone expects a short mission once they reach the planet. All they have to do is wait for the specialist team from the Imperial Survey Service to show up and declare another potential find to be nothing after all.Unexpectedly, without warning, humanity makes first contact. Elation turns to desperation and a fight for survival. The Globur are coming.

    A mixture of poetry, metaphysics, and common sense, they are ideal for the imaginative director and are easily adapted for radio or small acting areas.

    Time to make your dreams come true.