One of the bestselling memoirs of all time, David Niven's The Moon's a Balloon is an account of one of the most remarkable lives Hollywood has ever seen.Beginning with the tragic early loss of his aristocratic father, then regaling us with tales of school, army and wartime hi-jinx, Niven shows how, even as an unknown young man, he knew how to live the good life.But it is his astonishing stories of life in Hollywood and his accounts of working and partying with the legends of the silver screen - Lawrence Oliver, Vivien Leigh, Cary Grant, Elizabeth Taylor, James Stewart, Lauren Bacall, Marlene Dietrich, Noel Coward and dozens of others, while making some of the most acclaimed films of the last century - which turn David Niven's memoir into an outright masterpiece.An intimate, gossipy, heartfelt and above all charming account of life inside Hollywood's dream factory, The Moon is a Balloon is a classic to be read and enjoyed time and again..

    Formerly part of the World Dramatists series of play collections by classic and modern playwrights, including foreign works in workable and accurate translations, this title and seven others are reissued in a new format under the heading, World Classics.

    As mysterious personally as the Buddhist religion he practices, Rubin has made one thing crystal clear: the records he produces are sonically and stylistically beyond reproach. MTV has called Rubin “the most important producer of the last 20 years,” while Rolling Stone ventured even further, deeming Rubin the most successful “of any genre.” Without a niche, Rubin has taken greater risks than any producer in the record industry over the past quarter century. Pushing his artists into new territory has garnered Rubin seven Grammys, including Producer of the Year in 2007, and made him the most in-demand record producer working today. Now for the first time, Rick Rubin: In the Studio offers the behind-the-scenes stories of how Rubin created hit albums with such diverse legends as the Red Hot Chili Peppers, Run DMC, Johnny Cash, the Beastie Boys, Audioslave, Tom Petty, Metallica, Danzig, Slayer, LL Cool J, The Cult, Weezer, the Dixie Chicks, Linkin Park, System of a Down, Rage Against the Machine, Jay Z, Neil Diamond, Sheryl Crow, and Slipknot. This book chronicles his meteoric rise, from his early days as DJ Double R in the early ’80s, founding and running Def Jam Records alongside Russell Simmons from an NYU dorm room, discovering and producing the Beastie Boys and LL Cool J, to his transition in the early ’90s into a successful independent record executive, signing and producing the Red Hot Chili Peppers and Johnny Cash, to his role as the most influential producer of all time (currently as the co-head of Columbia Records), and his continued successes with rock/metal supergroups Audioslave, Linkin Park, and Metallica. This in-depth look at the life and times of Rick Rubin — in the studio and beyond — is a must-have for any music fan.

     James Shapiro illuminates both Shakespeare’s staggering achievement and what Elizabethans experienced in the course of 1599, bringing together the news and the intrigue of the times with a wonderful evocation of how Shakespeare worked as an actor, businessman, and playwright. The result is an exceptionally immediate and gripping account of an inspiring moment in history.

    Revealing the octogenarian spryness of a civilized mind and a beguiling mixture of the meditative and the hedonistic, My Name Escapes Me offers a glimpse of the private side of Guinness's often very public life.

    Two-time Academy Award-winning screenwriter and the bestselling author of Marathon Man, Tinsel, Boys and Girls Together, and other novels, Goldman now takes you into Hollywood's inner sanctums...on and behind the scenes for Butch Cassidy and the Sundance Kid, All the President's Men, and other films...into the plush offices of Hollywood producers...into the working lives of acting greats such as Redford, Olivier, Newman, and Hoffman...and into his own professional experiences and creative thought processes in the crafting of screenplays. You get a firsthand look at why and how films get made and what elements make a good screenplay. Says columnist Liz Smith, "You'll be fascinated.

    And what a life! By one of today’s greatest living actors.He was born a Canadian on a Friday the thirteenth in 1929—the year of the Crash. His boyhood was one of privilege: an ancestor was a Governor General; his great-grandfather Sir John Abbott was Canada’s third prime minister and owned railroads. There were steam yachts, mansions, and a life of Victorian gentility and somewhat cluttered splendor.Plummer tells how “this young bilingual wastrel, incurably romantic, spoiled rotten, tore himself away from the ski slopes to break into the big bad world of theatre, not from the streets up but from an Edwardian living room down,” and writes of his early acting days as an eighteen-year-old playing the lead in Shakespeare’s Cymbeline, directed by the legendary Komisarjevsky of Moscow’s Imperial Theatre.We see his glorious New York of the fifties, where life began at midnight, with the likes of Arthur Miller, Carson McCullers, Tennessee Williams, and Paddy Chayefsky, and how Plummer’s own Broadway world developed and swept him along through the last Golden Age the American Theatre would ever remember . . . how the sublime Ruth Chatterton (“she might have been created by F. Scott Fitzgerald and Sinclair Lewis”) introduced him to the right people in New York . . . how Miss Eva Le Gallienne gave Plummer his Broadway debut at twenty-five in The Starcross Story (“It opened and closed in one night! One solitary night! But what a night!”). He writes about Miss Katherine Cornell (the last stage star to travel by private train), who, with her husband, Guthrie McClintic, added to what experience Plummer had the necessary gloss, spit, and polish to take him to the next level. Guthrie bundled Plummer off to Paris for a production of Medea, opposite Dame Judith Anderson (“a little Tasmanian devil . . . who with one look could turn an audience to stone”).Plummer writes about the great producers with whom he worked—Kermit Bloomgarden, Robert Whitehead, and Roger Stevens—about Lillian Hellman, Leonard Bernstein, Elia Kazan (“If you weren’t careful, this chameleon of chameleons might change into you, wear your skin, steal your soul”), and the miracle that was the new Stratford Festival in Canada, where Plummer blossomed in the classics under the extraordinary Tyrone Guthrie. He writes about his (too brief) encounters with his favorite geniuses, Orson Welles and Jonathan Miller. He writes about his lifelong friendships with Raymond Massey and the wild Kate Reid, and with that fugitive from the Navy, “that reprobate and staunch drinking buddy, the true reincarnation of Eugene O’Neill, whose blood was mixed with firewater,” Jason Robards, Jr.Plummer writes about his affairs and his marriages, and about his daughter, Amanda, who “despite her slim looks and tiny bones could raise tempests, guaranteed to loosen the foundation of any theatre in which she chose to rage.”We see him becoming a leading actor for Peter Hall’s Royal Shakespeare Theatre, with a company of young talented players, each destined for stardom—Judi Dench, Vanessa Redgrave, Peter O’Toole, et al., collectively the future of the English stage. The old guard was brilliantly represented by Dames Edith Evans and Peggy Ashcroft and Sir John Gielgud. Plummer, the only fugitive from the New World, played Richard III, Benedick, and Henry II in Becket.He writes about his film career: The Sound of Music (affectionately dubbed “S&M”) . . . Inside Daisy Clover, which brought him together with the beautiful Natalie Wood . . . John Huston’s The Man Who Would Be King (Plummer was Rudyard Kipling). He tells the story of accepting Sir Laurence Olivier’s invitation to join the National Theatre Company, playing in Amphytron directed by Olivier himself (“a great actor but lousy director”), and writes about falling deeply in love with and eventually marrying a young actress and dancer, Elaine Taylor—to this day, his “one true strength.”Seamlessly written, with stories that make us laugh out loud and that make real the fascinating, complex, exuberant adventure that is the actor’s (at least this actor’s) life.

    No matter how carefully we formulate a “script,” it is bound to change when we interact with people with scripts of their own. Improv Wisdom shows how to apply the maxims of improvisational theater to real-life challenges—whether it’s dealing with a demanding boss, a tired child, or one of life’s never-ending surprises. Patricia Madson distills thirty years of experience into thirteen simple strategies, including “Say Yes,” “Start Anywhere,” “Face the Facts,” and “Make Mistakes, Please,” helping readers to loosen up, think on their feet, and take on everything life has to offer with skill, chutzpah, and a sense of humor.

    Inside you will find the real Joanna Lumley.

    In its fifth edition, THE WADSWORTH ANTHOLOGY OF DRAMA broadens its scope to offer even more plays than ever before.

    An honest, revealing self-portrait by the critically acclaimed, fiercely independent actor, discusses his early life, career, world travels, social activism, and profiles of friends, lovers, and professional colleagues.

    This book lays to rest the persistent myth that businesspeople and producers stifle artistic talent and reveals instead the genius of a system of collaboration and conflict. Working from industry documents, Schatz traces the development of house styles, the rise and fall of careers, and the making-and unmaking-of movies, from Frankenstein to Spellbound to Grand Hotel. Richly illustrated and highly readable, The Genius of the System gives the definitive view of the workings of the Old Hollywood and the foundations of the New.

    Producing plays that reflected topical issues of the decade and giving a creative chance to actors, directors, and playwrights who were either fed up with or shut out of commercial theater, the "Group" remains a permanent influence on American drama despite its brief ten-year life.It was here that method acting, native realism, and political language had their tryouts in front of audiences who anticipated--indeed demanded--a departure from the Broadway "show-biz" tradition. In this now classic account, Harold Clurman, founder of the Group Theatre and a dynamic force as producer-director-critic for fifty years, here re-creates history he helped make with Lee Strasberg, Elia Kazan, Irwin Shaw, Clifford Odets, Cheryl Crawford, Morris Carnovsky, and William Saroyan. Stella Adler contributed a new introduction to this edition which remembers Clurman, the thirties, and the heady atmosphere of a tumultuous decade.

    The circumstances were shady, the official account—a violent quarrel over the bill, or "recknynge"—has been long regarded as dubious.Here, in a tour de force of scholarship and ingenuity, Charles Nicholl penetrates four centuries of obscurity to reveal not only a complex and unsettling story of entrapment and betrayal, chimerical plot and sordid felonies, but also a fascinating vision of the underside of the Elizabethan world."Provides the sheer enjoyment of fiction, and might just be true."—Michael Kenney, Boston Globe"Mr. Nicholl's glittering reconstruction of Marlowe's murder is only one of the many fascinating aspects of this book. Indeed, The Reckoning is equally compelling for its masterly evocation of a vanished world, a world of Elizabethan scholars, poets, con men, alchemists and spies, a world of Machiavellian malice, intrigue and dissent."—Michiko Kakutani, New York Times"The rich substance of the book is his detail, the thick texture of betrayal and evasion which was Marlowe's life."—Thomas Flanagan, Washington Post Book WorldWinner of the Crime Writer's Gold Dagger Award for Nonfiction Thriller

    But the law touches every area of our lives: from intimate family matters to the biggest issues in our society.Our unfamiliarity is dangerous because it makes us vulnerable to media spin, political lies and the kind of misinformation that frequently comes from other loud-mouthed amateurs and those with vested interests. This 'fake law' allows the powerful and the ignorant to corrupt justice without our knowledge - worse, we risk letting them make us complicit.Thankfully, the Secret Barrister is back to reveal the stupidity, malice and incompetence behind many of the biggest legal stories of recent years. In Fake Law, the Secret Barrister debunks the lies and builds an hilarious, alarming and eye-opening defence against the abuse of our law, our rights and our democracy.