Jost studied the music (not the lives) of a selection of musicians-black jazz artists who pioneered a new form of African American music-to arrive at the most in-depth look so far at the phenomenon of free jazz. Free jazz is not absolutely free, as Jost is at pains to point out. As each convention of the old music was abrogated, new conventions arose, whether they were rhythmic, melodic, tonal, or compositional, Coltrane's move into modal music was governed by different principles than Coleman's melodic excursions; Sun Ra's attention to texture and rhythm created an entirely different big bang sound then had Mingus's attention to form.In Free Jazz, Jost paints a group of ten "style portraits"-musical images of the styles and techniques of John Coltrane, Charles Mingus, Ornette Coleman, Cecil Taylor, Archie Shepp, Albert Ayler, Don Cherry, the Chicago-based AACM (which included Richard Abrams, Joseph Jarman, Roscoe Mitchell, Lester Bowie, Anthony Braxton, and the Art Ensemble of Chicago), and Sun Ra and his Arkestra. As a composite picture of some of the most compelling music of the 1960s and '70s, Free Jazz is unequalled for the depth and clarity of its analysis and its even handed approach.

    But this play-within-a-play is not historical drama. Its thought is as modern as today's police states and The Bomb; its theatrical impact has everywhere been called a major innovation. It is total theatre: philosophically problematic, visually terrifying. It engages the eye, the ear, and the mind with every imaginable dramatic device, technique, and stage picture, even including song and dance. All the forces and elements possible to the stage are fused in one overwhelming experience. This is theatre such as has rarely been seen before. The play is basically concerned with the problem of revolution. Are the same things true for the masses and for their leaders? And where, in modern times, lie the borderlines of sanity?

    Written in Lallan Scots, it is a most exciting piece of poetic drama.

    In an unprecedented (for him) run of promiscuity, Ty has managed to impregnate three women in the span of one week: His ex-girlfriend, his 40-something married next-door neighbor, and his 18 year-old student. In this edgy comedy by playwright Rajiv Joseph, Ty's problems illuminate every triumph and failure of his life, and as the women

    In the earlier play Ostrovsky had adopted a satiric tone that proved him a worthy disciple of Gogol, the great founder of Russian realism. Not one lovable character appears in that gloomy picture of merchant life in Moscow; even the old mother repels us by her stupidity more than she attracts us by her kindliness. No ray of light penetrates the "realm of darkness" -- to borrow a famous phrase from a Russian critic -- conjured up before us by the young dramatist. In Poverty Is No Crime we see the other side of the medal. Ostrovsky had now been affected by the Slavophile school of writers and thinkers, who found in the traditions of Russian society treasures of kindliness and love that they contrasted with the superficial glitter of Western civilization. Life in Russia is varied as elsewhere, and Ostrovsky could change his tone without doing violence to realistic truth. The tradesmen had not wholly lost the patriarchal charm of their peasant fathers. A poor apprentice is the hero of Poverty Is No Crime, and a wealthy manufacturer the villain of the piece. Good-heartedness is the touchstone by which Ostrovsky tries character, and this may be hidden beneath even a drunken and degraded exterior. The scapegrace, Lyubim Tortsov, has a sound Russian soul, and at the end of the play rouses his hard, grasping brother, who has been infatuated by a passion for aping foreign fashions, to his native Russian worth. Alexander Ostrovsky (1823-1886) was an early Russian Realist whose work led to the founding of the Moscow Arts Theatre and to the career of Stanislavsky. He has been acknowledged to be the greatest of the Russian dramatists.

    But never has he blended these disparate elements into such a brilliantly cohesive whole as he has in Lips Together, Teeth Apart,hailed by Frank Rich of the New York Times as McNallys"most ambitious and most accomplished play yet."At the heart of this haunting play is a dramatically incisive portrait of two married couples - the Trumans and the Haddocks. Uncomfortable with themselves and each other, they are forced to spend a Fourth of July weekend at the Fire Island house that the brother of one of the women left his sister when he died of AIDS. Though the house is beautiful, it is as empty as their lives and marriages have become, a symbol of their failed hopes, their rage, their fears, and of the capricious nature of death. Acerbic and haunting, Lips Together, Teeth Apart probes the stifledlives of people and their prejudices with a stunning clarity that resonates long after.

    For a while she was the nation's most famous drug addict. This is her story of recovery from the despair of addiction, told with total emotional honesty and courage.

    At first, the new doctor cures anything

    Hundreds of thousands more have enjoyed the National Company as it played Los Angeles, Dallas, San Francisco, Denver, Omaha, Des Moines, Cincinnati, Kansas City and Chicago.Meredith Wilson wrote the music the lyrics and the libretto of 'The Music Man' -all delightful. Now he has written a book about writing the show - equally delightful. He claims he had Trouble (with a capital T)and he documents his case with behind-the-scenes anecdotes and theatrical characters unknown in his native Iowa.

    He believes his five-week old granddaughter is Gerry Adams.His family keep telling him to stop living in the past and fighting old battles that nobody cares about anymore, but his cultural heritage is under siege. He must act.David Ireland's black comedy takes one man's identity crisis to the limits as he uncovers the modern day complexity of Ulster Loyalism.Cyprus Avenue was first performed at the Abbey Theatre, Dublin, on 11 February 2016, before transferring to the Royal Court Theatre, London in April 2016.

    Now available together for the first time in this unique Signet Classic edition, both plays--centered on characters hiding terrible, scandalous secrets--offer dark foreshadowing of the dramatic course Wilde's own life was to take.

    Mama, a sweet and capable manager, sees her children through childhood, manages to educate them and to see one of her daughters begin her career as a writer. Mama's sisters and uncle furnish a rich background for a great deal of comedy and a little incidental tragedy, while the doings of the children manage to keep everyone in pleasant turmoil. No description can do justice to the rich characterizations that fill the author's canvas. A High School version (ISBN 0-8222-0550-5) is also available at the same price. Groups interested should specify which version."

    In this engrossing volume, film historian Richard Barrios recounts how the drama and rivalries seen onscreen played out to equal intensity behind-the-scenes, while still achieving extraordinary artistic feats.The making and impact of West Side Story has so far been recounted only in vestiges. In the pages of this book, the backstage tale comes to life along with insight on what has made the film a favorite across six decades: its brilliant use of dance as staged by erstwhile co-director Jerome Robbins; a meaningful story, as set to Leonard Bernstein and Stephen Sondheim's soundtrack; the performances of a youthful ensemble cast featuring Natalie Wood, Rita Moreno, George Chakiris, and more; a film with Shakespearean roots (Romeo and Juliet) that is simultaneously timeless and current. West Side Story was a triumph that appeared to be very much of its time; over the years it has shown itself to be eternal.

    So the impresario's diminutive assistant blacks up and goes on as Otello. The tenor awakens, dons his costume, and thence follows a hilarious comedy involving two Otellos, a volatile Italian wife, an outrageous bellhop and a cynical impresario.

    But for all the novelty of the sitcom based on Charles Addams’s groundbreaking New Yorker cartoons, Hollywood’s Addams family paled beside the cartoonist’s. “Not half as evil as my original characters,” sighed Addams.Though the haunted-household cartoons developed a following among New Yorker readers long before the 1960s sitcom, and the Addams and their seedy Victorian mansion soon became recognizable types, the artist with the well-known signature “Chas Addams” remained an enigma. Called “the Bela Lugosi of the cartoonists,” Addams was the cartoonist everyone–even Hitchcock–wanted to meet. He was bedeviled by rumors. People claimed that he slept in a coffin, collected severed fingers sent by fans, and suffered bouts of madness that sent him to the insane asylum.The true Addams was even more fabulous than the wildest stories and cartoons. Here was a sunny, funny urbane man, “a normal American boy,” as he called himself, with a dog who hated children and a taste for crossbows. While producing a unique body of work featuring lovingly drawn homicidal spouses, demonic children, genteel monsters, and an everyday world crosshatched with magic, Addams raced classic sports cars, juggled beautiful women (Joan Fontaine, Jackie Kennedy, and Greta Garbo, to name a few), and charmed everyone. But though his pursuits suggest lighthearted romantic comedy, Addams’s life had its sinister side. Far darker than anything Addams created with a brush was his relationship with a dangerous woman who forever changed his life.In this first biography of the great cartoonist, written with exclusive access to Addams’s intimates and his private papers, we finally meet the man behind the famed cartoons and circling rumors. Here is his surprising childhood in New Jersey, the cartoon that offended the Nazis, the friend whose early death Addams long mourned. Here are his wives, the stories behind his most famous–and some of his most private–cartoons, and the Addams whom even his closest friends didn’t know.With wit, humor, poignancy, and insight–enhanced by rare family photographs, classic and previously unpublished cartoons, and private drawings–Linda H. Davis paints an engaging and endearing portrait of a marvelous American original.One of America’s most gifted biographers, Linda Davis has given us an engrossing, unforgettable portrait of the legendary New Yorker cartoonist. In Davis’s empathetic narrative and in accompanying cartoons, photographs, and drawings, the great artist lives again in all his eccentric brilliance,ghoulish sense of humor, fecund love life, and warm and gentle humanity. Beautifully written and exhaustively researched, Chas Addams: A Cartoonist’s Life deserves to win every literary prize there is for best biography.--Stephen B. Oates, Paul Murray Kendall Professor of Biography and Professor History Emeritus, The University of Massachusetts at Amherst “If you don’t appreciate martinis with eyeballs in them, this is not the book for you. For the rest of us here is an irresistible riot of a read, an exhilarating expertly mixed cocktail of words and images. Charles Addams’s life was crowded with women–famous women, smart women, witty women, garden-variety drop-dead beautiful women–but in Linda Davis he has truly met his match.” --Stacy Schiff, winner of the Pulitzer Prize for Vera “Seldom have we found as satisfying a fit of subject and author as this. Linda Davis has distilled years of research, travel and interviews into a rollicking and fascinating review of Addams’s astonishing life as artist, playboy and–from time to time–husband. We can all be grateful that Addams and Davis finally found one another.”--Harrison Kinney,author of James Thurber: His Life and Times