At her death in 1964, O'Connor left behind a body of unpublished essays and lectures as well as a number of critical articles that had appeared in scattered publications during her too-short lifetime. The keen writings comprising Mystery and Manners, selected and edited by O'Connor's lifelong friends Sally and Robert Fitzgerald, are characterized by the directness and simplicity of the author's style, a fine-tuned wit, understated perspicacity, and profound faith.The book opens with "The King of the Birds," her famous account of raising peacocks at her home in Milledgeville, Georgia. Also included are: three essays on regional writing, including "The Fiction Writer and His Country" and "Some Aspects of the Grotesque in Southern Fiction"; two pieces on teaching literature, including "Total Effect and the 8th Grade"; and four articles concerning the writer and religion, including "The Catholic Novel in the Protestant South." Essays such as "The Nature and Aim of Fiction" and "Writing Short Stories" are widely seen as gems.This bold and brilliant essay-collection is a must for all readers, writers, and students of contemporary American literature.

    The dialogue crackles with hilarious, caustic putdowns as the indomitable Maggie deals with her feckless family and unwanted suitors. Everyone wants a part of Big Maggie and her property but she has other ideas.

    Fusing hip-hop, pop, R&B, and the best traditions of theater, this once-in-a-generation show broadens the sound of Broadway, reveals the storytelling power of rap, and claims our country's origins for a diverse new generation.Hamilton: The Revolution gives readers an unprecedented view of both revolutions, from the only two writers able to provide it. Miranda and Jeremy McCarter, a cultural critic and theater artist who was involved in the project from its earliest stages--"since before this was even a show," according to Miranda--trace its development from an improbable perfor­mance at the White House to its landmark opening night on Broadway six years later. In addition, Miranda has written more than 200 funny, revealing footnotes for his award-winning libretto, the full text of which is published here.Their account features photos by the renowned Frank Ockenfels and veteran Broadway photographer Joan Marcus; exclusive looks at notebooks and emails; interviews with Questlove, Stephen Sond­heim, leading political commentators, and more than 40 people involved with the production; and multiple appearances by Presi­dent Obama himself. The book does more than tell the surprising story of how a Broadway musical became a national phenomenon: It demonstrates that America has always been renewed by the brash upstarts and brilliant outsiders, the men and women who don't throw away their shot.

    There are 10 reading parts.

    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.

    A young lieutenant directs rehearsals of the Restoration comedy, The Recruiting Officer. With a cast of convicts, opposition from sadistic officers and a leading lady who is due to be hanged, Australia's first theatrical production is in trouble from the start.

    This one-person play works through bold juxtapositions and satiric reference points: Simón Bolívar and Speedy Gonzales; Columbus and Fodor’s travel guides; Ricky Ricardo and the Latin Lover; �La Bamba’ and Placido Domingo; Carlos Fuentes and American made-for-TV drug-wars movies. Verdecchia twirls stereotypes and clichés, offers comparative histories, examines myths and mysticism, and provides lessons in language and dancing.Cast of one man.

    There are several differences between scripts. Reginald Rose's landmark American drama was a critically acclaimed teleplay, and went on to become a cinematic masterpiece in 1957 starring Henry Fonda, for which Rose wrote the adaptation. A blistering character study and an examination of the American melting pot and the judicial system that keeps it in check, Twelve Angry Men holds at its core a deeply patriotic belief in the U.S. legal system. The story's focal point, known only as Juror Eight, is at first the sole holdout in an 11-1 guilty vote. Eight sets his sights not on proving the other jurors wrong but rather on getting them to look at the situation in a clear-eyed way not affected by their personal biases. Rose deliberately and carefully peels away the layers of artifice from the men and allows a fuller picture of America, at its best and worst, to form.

    Lyly’s Endymion (1588) represents his famous Euphuistic style at its best and also gives us vintage Lyly as courtier and dramatist. In this love comedy, Lyly retells an ancient legend of the prolonged sleep of the man with whom the moon (Cynthia) fell in love. The fable is piquantly relevant to Queen Elizabeth and her exasperated if adoring courtiers. This edition makes a new and compelling argument for the relevance of Endymion to the threat of the Spanish Armada invasion of 1588 and to the role of the Earl of Oxford in England’s politics of that troubled decade. Full commentary is provided on every aspect of the play, including its philosophical allegory about the relation of the moon to mortal life on earth.

    Nine parallel lives, interlocked by four infidelities, one missing person and a mysterious stiletto, are woven through a fragmented series of confessionals and interrogations that gradually reveal a darker side of human nature.

    The lifetime work of Professor Alexander Schmidt of Königsberg, this book has long been the indispensable companion for every person seriously interested in Shakespeare, Renaissance poetry and prose of any sort, or English literature. It is really two important books in one.Schmidt’s set contains every single word that Shakespeare used, not simply words that have changed their meaning since the seventeenth century, but every word in all the accepted plays and the poems. Covering both quartos and folios, it carefully distinguishes between shades of meaning for each word and provides exact definitions, plus governing phrases and locations, down to the numbered line of the Cambridge edition of Shakespeare. There is no other word dictionary comparable to this work.Even more useful to the general reader, however, is the incredible wealth of exact quotations. Arranged under the words of the quotation itself (hence no need to consult confusing subject classifications) are more than 50,000 exact quotations. Each is precisely located, so that you can easily refer back to the plays or poems themselves, if you wish context.Other features helpful to the scholar are appendixes on basic grammatical observations, a glossary of provincialisms, a list of words and sentences taken from foreign languages, a list of words that form the latter part of word-combinations. This third edition features a supplement with new findings.

    When Theresa goes on an awkward blind date with a friend of a friend, she sees no reason to continue the relationship--but the man, an attractive fellow named Tony, thinks otherwise. While Theresa is at first annoyed yet flattered by his continuing attention, her attitude gradually changes to one of fear and fury when he starts violently to menace her and those around her.In brilliantly delineating the kind of terror a woman in full control of her life feels when everything around her suddenly seems to be a threat, Gilman probes the dark side of relationships in the 1990s with the rich insight and compelling characterizations that have distinguished her earlier plays and made her one of the most exciting young playwrights working today.

    Presents an introduction to Shakespeare's greatest plays including Hamlet Othello, As You Like It, The Taming of the Shrew, The Tempest and Pericles.

    She doesn’t go to school and never leaves the flat by day. Sensing in each other a kindred spirit, the two become devoted friends. What Oskar doesn’t know is that Eli has been a teenager for a very long time…Jack Thorne's adaptation of Let The Right One In premiered in June 2013 at the Dundee Rep Theatre in a production by the National Theatre of Scotland, before transferring to London's Royal Court Theatre in November 2013.

    It is the source of Sartre's especially famous and often misinterpreted quotation "L'enfer, c'est les autres" or "Hell is other people", a reference to Sartre's ideas about the Look and the perpetual ontological struggle of being caused to see oneself as an object in the world of another consciousness.