It also provides cast and performance information from every production of Gypsy. Titles include: Let Me Entertain You * Some People * If Momma Was Married * Everything's Coming Up Roses * Together Wherever We Go * Rose's Turn and more.

    Almost one hundred years later, a groom-to-be prepares for his gay wedding.Queers celebrates a century of evolving social attitudes and political milestones in British gay history, as seen through the eyes of eight individuals.Poignant and personal, funny, tragic and riotous, these eight monologues for male and female performers cover major events - such as the Wolfenden Report of 1957, the HIV/AIDS crisis, and the debate over the age of consent - through deeply affecting and personal rites-of-passage stories.Curated by Mark Gatiss, the monologues were commissioned to mark the anniversary of the 1967 Sexual Offences Act, which decriminalised homosexual acts in private between two men over the age of twenty-one. They were broadcast on BBC Four in 2017, directed and produced by Gatiss, and starring Alan Cumming, Rebecca Front, Ian Gelder, Kadiff Kirwan, Russell Tovey, Gemma Whelan, Ben Whishaw and Fionn Whitehead. They were staged at The Old Vic in London.This volume includes:The Man on the Platform by Mark GatissThe Perfect Gentleman by Jackie CluneSafest Spot in Town by Keith JarrettMissing Alice by Jon BradfieldI Miss the War by Matthew BaldwinMore Anger by Brian FillisA Grand Day Out by Michael DennisSomething Borrowed by Gareth McLean

    Available individually, as well as in a boxed set, the four hardcover volumes have been specially bound with covers featuring images central to Beckett's works. Typographical errors that remained uncorrected in the various prior editions have now been corrected in consultation with Beckett scholars C. J. Ackerley and S. E. Gontarski."Poet, novelist, short–story writer, playwright, translator, and critic, Samuel Beckett created one of the most brilliant and enduring bodies of work in twentieth–century literature. In celebration of the one hundredth anniversary of his birth, the four volumes of this new edition bring together nearly every word Beckett published during his lifetime. Open anywhere and begin reading. It is an experience unequaled anywhere in the universe of words." — Paul Auster, from his Series Notes

    Louis in the mid-thirties––a lovely Sunday for a picnic at Creve Coeur Lake. But Dorothea, one of Tennessee Williams’s most engaging "marginally youthful," forever hopeful Southern belles, is home waiting for a phone call from the principal of the high school where she teaches civics––the man she expects to fulfill her deferred dreams of romance and matrimony. Williams’s unerring dialogue reveals each of the four characters of A Lovely Sunday for Creve Coeur with precision and clarity: Dorothea, who does even her "setting-up exercises" with poignant flutters; Bodey, her German roommate, who wants to pair Dotty with her beer-drinking twin, Buddy, thereby assuring nieces, nephews, and a family for both herself and Dotty; Helena, a fellow teacher, with the "eyes of a predatory bird," who would like to "rescue" Dotty from her vulgar, common surroundings and substitute an elegant but sterile spinster life; and Miss Gluck, a newly orphaned and distraught neighbor, whom Bodey comforts with coffee and crullers while Helena mocks them both. Focusing on one morning and one encounter of four women, Williams once again skillfully explores, with comic irony and great tenderness, the meaning of loneliness, the need for human connection, as well as the inevitable compromises one must make to get through "the long run of life."

    In a woods, a field and a barn, they play, fight, fantasize and swagger. Their aggressions, fears, hostilities and rivalries are a microcosm of adult interaction. Easy going Willie tags along as burly Peter bullies Raymond and is challenged by fair minded Paul. Plain Audrey is overshadowed by Angela's prettiness and wreaks her anger on the boys. All of them gang up on the terrified "Donald Duck" who, abused by his mother and ridiculed by his peers, plays a dangerous game of pyromania with tragic results.

    

    Written by artistic directors Scott Graham and Steven Hoggett, The Frantic Assembly Book of Devising Theatre is the first book to reflect on the history and practice of this remarkable company, and includes:practical exercises essays on film, music and physical theatre inspiration for devising, writing and choreographing performance suggestions for scene development an anthology of Frantic Assembly productions an eight page colour section, and illustrations throughout.Accompanied by a companion website featuring clips of rehearsals and performances, this intimate and personal account offers an accessible, educational and indispensable introduction to the evolution and success of Frantic Assembly.

    Thirty-five-year-old Felix Humble is a Cambridge astro-physicist in search of a unified field theory. Following the sudden death of his father, Felix returns to his middle England home and his difficult and demanding mother, where he soon realises that his search for unity must include his own chaotic home life.Humble Boy premiered at the Royal National Theatre, London, in August 2001, and transferred to the Gielgud Theatre, London, in 2002. The play was the winner of the Susan Smith Blackburn Award 2001, the Critics' Circle Best New Play Award 2002, and the People's Choice Best New Play Award 2002.

    The play is based on Irish mythology, in particular the myths concerning Deirdre and Conchobar. The work was unfinished at the author's death in 1909, but was completed by William Butler Yeats and Synge's fiancée, Molly Allgood.[from Wikipedia]

    When an evening of fun and games turns to murder, Miss Marple plays by her own rules to solve the whodunit.

    Manifesting Ridley's vivid and visionary imagination and the dark beauty of his outlook, the play resonates with his trademark themes: East London, storytelling, moments of shocking violence, memories of the past, fantastical monologues, and that strange mix of the barbaric and the beautiful he has made all his own.The Pitchfork Disney was Ridley's first play and is now seen as launching a new generation of playwrights who were unafraid to shock and court controversy. This unsettling, dreamlike piece has surreal undertones and thematically explores fear, dreams and story-telling. First produced in 1991, it has gone on to be recognised as the annunciation of Ridley's dark and seductive world.

    Ms. Herzog writes with keen sensitivity to the complex weave of feelings embedded in all human relationships, with particular attention to the way we tiptoe around areas of radioactive emotion." - New York Times"Whatever the ideal contemporary American drama is, it has to look a lot like The Great God Pan. It is provocative and subtle, slowly, carefully revelatory, sweetly moving, thought-provoking, funny and insightful." - New York Observer"An intelligent, delicately articulate writer." - Village Voice"A moving and unsettling look at the nature of identity and the vagaries of memory. With subtlety and compassion, Herzog contemplates how well we can really know ourselves." - BackstageJamie's life in Brooklyn seems just fine: a beautiful girlfriend, a burgeoning journalism career, and parents who live just far enough away. But when a possible childhood trauma comes to light, lives are thrown into a tailspin. Unsettling and deeply compassionate, The Great God Pan tells the intimate tale of what is lost and won when a hidden truth is suddenly revealed.Amy Herzog's plays include 4000 Miles (Pulitzer Prize finalist), After the Revolution and Belleville. Ms. Herzog is the recipient of numerous awards, including the Whiting Writers' Award, an Obie Award and the Helen Merrill Award for Aspiring Playwrights.

    Time to make your dreams come true.

    But within four weeks they themselves had experienced the "impossible."In An Acrobat of the Heart, teacher-director-playwright Stephen Wangh reveals how Jerzy Grotowski's physical exercises can open a pathway to the actor's inner creativity. Drawing on Grotowski's insights and on the work of Stanislavski, Uta Hagen, and others, Wangh bridges the gap between rigorous physical training and practical scene and character technique. Wangh's students give candid descriptions of their struggles and breakthroughs, demonstrating how to transform these remarkable lessons into a personal journey of artistic growth. Courageous and compelling, An Acrobat of the Heart is an invaluable resource for actors, directors, and teachers alike.

    Some of these characters remain friends, others are like ex–lovers with whom we no longer have anything in common. All of them bring something out in us that will never go back in the box.’ In a varied and distinguished career, Harriet Walter has played almost all of Shakespeare’s heroines, notably Ophelia, Helena, Portia, Viola, Imogen, Lady Macbeth, Beatrice and Cleopatra, mostly for the Royal Shakespeare Company. But where, she asks, does an actress go after playing Cleopatra’s magnificent death? Why didn’t Shakespeare write more – and more powerful – roles for mature women? For Walter, the solution was to ignore the dictates of centuries of tradition, and to begin playing the mature male characters. Her Brutus in an all–female Julius Caesar at the Donmar Warehouse was widely acclaimed, and was soon followed by Henry IV. What, she asks, can an actress bring to these roles – and is there any fundamental difference in the way they must be played? In Brutus and Other Heroines, Walter discusses each of these roles – both male and female – from the inside, explaining the particular choices she made in preparing and performing each character. Her extraordinarily perceptive and intimate accounts illuminate each play as a whole, offering a treasure trove of valuable insights for theatregoers, scholars and anyone interested in how the plays work on stage. Aspiring actors, too, will discover the many possibilities open to them in playing these magnificent roles. The book is an exploration of the Shakespearean canon through the eyes of a self-identified ‘feminist actor’ – but, above all, a remarkable account of an acting career unconstrained by tradition or expectations. It concludes with an affectionate rebuke to her beloved Will: ‘I cannot imagine a world without you. I just wish you had put more women at the centre of your world/stage… I would love you to come back and do some rewrites.’