It involves six to seven players and many kinds of scenes: games, monologues, songs, skits and more, all of which are bound to keep both actors and audience members guessing. The Harold is non-linear entertainment that remembers everything and wastes nothing the key to successful improvising and has become a standard in comedy clubs and improv theatres around the globe.

    Along the way, he discovered that the hard-earned lessons he was learning onstage could be applied to his life, too. Life is Like a Musical features 50 tips and anecdotes, with chapters such as "Let Someone Else Take a Bow," "Dance Like Everyone's Watching," and "Save the Drama for the Stage." This charming and clever guide will appeal to all ages and inspire readers to remember that they're the stars of their own life story.

    Then, Aphrodite, taking pity on this man whose love could not reach beyond the barrier of stone, brought the statue to life and gave her to Pygmalion as his bride. Centuries later, George Bernard Shaw captured the magic of this legend in his celebrated play, Pygmalion. Pygmalion became Henry Higgins, a professor of phonetics, his statue an untutored flower girl from the streets of London, and the barrier between them is class.. Shaw expected Eliza to end up with Freddy and run a flower shop.In My Fair Lady, Alan Jay Lerner takes the legend one step further—the barrier is swept away and Higgins and Eliza are reunited as the curtain falls on one of the loveliest musical plays of our time—winning seven Tonys® for its original Broadway production, and seven Oscars® for its film adaptation.--back cover

    Filled with behind-the-scenes information and photos of the cast and crew, this annotated script will enchant and entertain fans of the book and the play alike.

    Boom tells the story of an elderly woman and her property agent son in Singapore, who are struggling over the potential en bloc sale of their home. Their destinies become interwoven with that of an idealistic civil servant, Jeremiah, who is facing the greatest challenge of his career—persuading a reluctant corpse to yield its memories. Boom is a quirky yet poignant tale about the relocation of both dead and living, and how personal stories get left behind in the inexorable march of progress.Written by economist-turned-playwright Jean Tay, Boom was conceptualised at the Royal Court Theatre in London in 2007, and developed and staged by the Singapore Repertory Theatre in September 2008. It was nominated for Best Original Script for The Straits Times’ Life! Theatre Awards in 2009 and is now an O- and N-Level Literature text in Singapore schools.“Jean Tay is one of the most gifted playwrights I have come across in years.” —Gaurav Kripalani, Artistic Director, Singapore Repertory Theatre

    He never went to school but received most of his education in the streets of Dublin, and taught himself to read at the age of fourteen. He was successively a newspaper-seller, docker, stone-breaker, railway-worker and builders' labourer. In 1913 he helped to organise the Irish Citizen Army which fought in the streets of Dublin, and at the same time he was learning his dramatic technique by reading Shakespeare and watching the plays of Dion Boucicault. His early works were performed at the Abbey Theatre, Dublin, and Lady Gregory made him welcome at Coole, but disagreement followed and after visiting America in the late thirties O'Casey settled in Devonshire. He lived there until his death in 1964, though still drawing the themes of many of his plays from the life he knew so well on the banks of the Liffey. Out of the ceaseless dramatic experimenting in his plays O'Casey created a flamboyance and versatility that sustain the impression of bigness of mind that is inseparable from his tragi-comic vision of life.

    It premiered in April 2000 at the Gielgud Theatre, Shaftesbury Avenue, London, starring Kathleen Turner as Mrs RobinsonCalifornia in the 60s. Benjamin's got excellent grades, very proud parents and, since he helped Mrs Robinson with her zipper, a fine future behind him… A cult novel, a classic film, a quintessential hit of the 60s, now Benjamin's disastrous sexual odyssey is brought vividly to life in this world stage premiere production."Terry Johnson is that rare creature: a moralist with wit. He writes with responsible gaiety" (Guardian)

    Who are they, and why have they come? The survivors soon discover the aliens are here for the one resource they cannot find elsewhere in the solar system- surface biomass. Life itself. The survivors are left to fight a guerrilla war against their technologically superior adversaries in the vain hope of driving them off before they can strip the world of life. But they may be doomed to fail unless they can find a way to strike directly against the aliens, unassailable in their fortress-mothership orbiting high above the earth. With memorable characters, packed with action and bleeding-edge technology ‘Rage of Angels’ is a fresh, up to date and frighteningly plausible addition to the alien invasion genre.

    Due to its age, it may contain imperfections such as marks, notations, marginalia and flawed pages. Because we believe this work is culturally important, we have made it available as part of our commitment for protecting, preserving, and promoting the world's literature in affordable, high quality, modern editions that are true to the original work.

    As a blizzard rages outside, a lonely figure, Henry Harry, lies sleeping under a heap of blankets. Suddenly, he is awakened by the insistent knocking of an unexpected visitor who turns out to be Rosannah DeLuce, a distraught young woman who has fled all the way from Arizona to escape her impending marriage, and who bursts into the cabin dressed in full bridal regalia. Exhausted, she throws herself on Henry's mercy, but after sleeping for two days straight, her vigor and combativeness return. Both characters, it develops, have been wounded and embittered by life, and both are refugees from so-called civilization. Thrown together in the confines of the snowbound cabin, they alternately repel and attract each other as, in theatrically vivid exchanges, they explore the pain of the past and, in time, consider the possibilities of the present. In the end their very isolation proves to be the catalyst that allows them to break through the web of old griefs and bitter feelings that beset them both and to reach out for the solace and sanctuary that only hard-won understanding, self-awareness and compassion for the plight of others can bestow.

    Now the prison is being re-opened, but as a new generation of prisoners arrive to fill the cells, something evil is waiting in the shadows. Amanda Weir doesn't remember killing her children. All she knows is that she woke up with their bloody bodies in her arms. Sentenced to life in prison, she arrives at Hardstone and tries to adjust to her new life. All she wants is to forget her old self, and to find some way to live with what she did. After all, there's no way she could be innocent... There's something else at Hardstone, however. Something lost and alone, something angry. The ghost of a little girl has been spotted several times, and the prisoners have learned a valuable lesson: whenever the ghost is seen, anyone who looks into its eyes will be dead within a matter of days. But what does the ghost want, and exactly how far has its influence spread in the lives of the prisoners? The Prison is a dark horror story about a woman who finds herself facing the truth about her own past, and about a dead little girl who refuses to accept that her life is over.

    

    Admired for its clarity and zest, Impro lays bare the techniques and exercises used to foster spontaneity and narrative skill for actors. These techniques and exercises were evolved in the actors' studio, when he was Associate Director of the Royal Court and then in demonstrations to schools and colleges and ultimately in the founding of a company of performers called The Theatre Machine.Divided into four sections, 'Status', 'Spontaneity', 'Narrative Skills' and 'Masks and Trance', arranged more or less in the order a group might approach them, the book sets out the specific approaches which Johnstone has himself found most useful and most stimulating. The result is a fascinating exploration of the nature of spontaneous creativity.

    The lawyer is married to a beautiful, well-to-do girl in the midwest whose family sets the pace in local society and intends to run his marriage and his career as well. He has rebelled, come to New York, and taken up residence with this intriguing young woman. He is lonely and in need of consolation; she is one of those rare women whose only purpose seems to be making others happy. Their briefly fulfilling relationship is unhappily destined to failure: he is a cultured gentile with a wife and painful memories while she is a plain Jewish girl with little education and a horrible Bronx accent. They share happy and humorous moments together, but they both see with sadness the utter hopelessness of the affair."It's a whale of a hit, a bittersweet joy ride." - The New York Mirror ."An absorbing, affectionate, and funny delight." - The New York Daily News

    Their love for the hit show (whose reclusive author has never been named) is nothing short of an obsession. Thanks to a secret loan from Emily’s grandma Rose, seeing the Saturday matinee has become a weekly ritual that makes real life seem dull and drab by comparison. But when the theater chat rooms start buzzing with crazy rumors that Aurora might close, Emily and Philip find themselves grappling with some truly show-stopping questions. What, exactly, is the “one sure thing” in show business? How will they pay back the money they owe Grandma Rose? And why hasn’t Philip asked Emily out on a real date? As they go to hilarious lengths to indulge their passion for Aurora, Emily and Philip must face the fact that all shows close sooner or later. But first they’ll put their friendship to the ultimate test, solve Broadway’s biggest mystery–and spend one unforgettable night at the theater.From the Hardcover edition.