Albee there is a theme beneath the surface, in this case the corruption of money and the rottenness of this bigoted exurbia where conformity to its illiberal standards and its hypocritical show of respectability is all that counts. The scene is the suburban home of Jenny and Richard, beautifully played by Barbara Bel Geddes and Barry Nelson. The only thing that seems to stand in the way of their happiness is a lack of money. The action starts in an entertaining comedy of manners style. Then abruptly there enters a Mrs. Toothe in the menacing and fascinating person of Beatrice Straight who offers Jenny the opportunity to make more money than they have ever had, to buy a greenhouse and all the other luxuries that they require for their garden and their lives. Richard's realization that their newfound money is being earned by his wife's whoring comes almost simultaneously with the return of their fourteen-year-old son from school and a champagne cocktail party which they are giving to impress their country club friends. As a result, his horror, disgust and rage has to be kept under wraps in order to keep up essential appearances until tragedy strikes, and Richard realizes that the assembled wives are all involved and their husbands are aware and condoning." More than that, they are prepared not merely to justify but defend the ends through which their means are attained and the devastated Richard, left in agonized despair by the ironic events that charge the final moments of the play, must face the fact of his own share in their communal guilt.

    It is the summer of '82 as Sally Thomas prepares to leave her job at the British Drama League in London and head off to the North of England for her very first season in repertory as an Assistant Stage Manager at the beautiful old theatre in Crewe. Flung into this new world, Sally soon finds her feet, thanks to her own steady, unspoilt nature and to the company of her best friend, Jeremy. One of the first lessons she learns is that the other actors barely need tuition in the art of stage-fighting, since they are quite adept at stabbing each other in the back. When Jeremy falls suddenly and dangerously in love, Sally needs to grow up - fast. A shadow is falling over the theatre, sparing no one, and a tragedy is gathering pace in the darkness behind the stage. The Boy I Loveis a superb evocation of theatre and real life that will stay with you long after you've read it. Be warned: it may just break your heart.

    While his friends were out getting laid and stoned, he was tucked up at home dreaming of his name in lights, of holding an audience rapt, of perhaps becoming a TV heart-throb, or having someone, anyone, ask for his autograph in the supermarket. This is the true story of an obsessive pursuit of acting fame. It is a life marked by occasional hard-fought successes and routine helpings of ritual humiliation: scout hut Gilbert and Sullivan, dodgy rock operas, sewage farm theatre workshop, Christmas panto hell, straight-to-video film flops, leading roles in Crimewatch reconstructions and dressing up as a chicken to advertise TV dinners. It is a hilarious tale of turgid theatre, tights, trusses and tonsil tennis with Timothy Spall.

    The story of two white-collar managers, Chad and Howard, who maliciously plot to jointly romance the lonely, deaf, beautiful office temp Christine before simultaneously dumping her, is cool and compelling in its depiction of the worst sorts of emotional abuse. What begins as a cat-and-mouse game of one-upmanship quickly escalates into full-scale psychological warfare. Only too late does this 'frat boy' prank reveal itself as deadly serious, with a struggle between the two men at the heart of the battle. The woman is only a means to an end, a pawn easily captured and tossed aside in a dark, wicked duel for corporate ascension.

    Ever been racially slurred in the sack? Ever been subjected to strangers yelling at you at 3am about the most intimate details of your life? Ever been to New York? Six characters from wildly different backgrounds make love, war and hysteria late one night in the cultural, sexual and generational smorgasbord that is Manhattan.

    EARLY WORKS: ACTOS, BERNABE AND PENSAMIENTO SERPENTINE is three books in one: 1) a collection of one act plays by Valdez and the famous farmworker theater, El Teatro Campesino, 2) one of the first fully realized, full-length plays by Valdez alone, and 3) an original narrative poem by Luis Valdez. In the first part are collected the original, improvised works of El Teatro Campesino that deal with the exploitation of Mexican farm labor in the California fields, the discrimination found by Mexicans in the schools, and Mexicans being turned into cannon fodder by the U.S. Army in Vietnam. Bernabe is a touching, Lorcaesque poetic drama about a town fool's enchantment and ultimate unity with the earth. Pensamiento serpentino is a long, philosophical poem, based on Mayan thought and cosmology, which analyzes the cultural, religious and political circumstances of Mexican Americans and prepares a metaphysical framework for their future.

    Book annotation not available for this title.

    At first, the new doctor cures anything

    Somerset Maugham’s “Before the Party” is a novelette first published in the December 1922 edition of “Nash’s Magazine.” After the death of her husband, an alcoholic colonial administrator in Borneo, Millicent returns to England to live with her parents and sister. Did Millicent’s husband die of a fever, as Millicent claims, or was his throat cut? And if the latter, was it suicide or homicide?Sample passage:Mrs. Skinner had thought it very peculiar that her daughter should have no photographs of Harold in her room. Indeed she had spoken of it once, but Millicent had made no reply. Millicent had been strangely silent since she came back from Borneo, and had not encouraged the sympathy Mrs. Skinner would have been so willing to show her. She seemed unwilling to speak of her great loss. Sorrow took people in different ways. Her husband had said the best thing was to leave her alone. The thought of him turned her ideas to the party they were going to.About the author:W. Somerset Maugham (1874-1965) was a British novelist, short-story writer, and playwright. Notable novels are “Of Human Bondage,” “The Moon and Sixpence,” and “The Razor’s Edge.”

    They sailed far out to sea. The blue one returned to the harbor. The red one sailed home too. But the yellow boat sailed up to the sun." Benjamin always concluded his bedtime ritual by saying, "Mom, you can be the red boat or the blue boat, but I am the yellow boat." This remarkable voyage of Benjamin was extensively developed and widely produced in America for several years, always to ovations. Cast of 4 men and 3 women.THE YELLOW BOAT is based on the true story of David and Sonja Saar's son, Benjamin, who was born with congenital hemophilia, and died in 1987 at the age of 8 of AIDS related complications. A uniquely gifted visual artist, Benjamin's buoyant imagination transformed his physical and emotional pain into a blaze of colors and shapes in his fanciful drawings and paintings. The story of THE YELLOW BOAT Is a glorious affirmation of a child's life, and the strength and courage of all children. Recommended for children of age 8 and older, parents, families and adults.

    Broadway actress Sharon Wheatley reveals an authentic and personal look at the damaging physical and emotional effects of childhood obesity.

    "By a mile, the best new play of the season>"--John Heilpern, New York Observer.

    Like the arguments over any effort to crown "the greatest," "the best," or "the worst," that answer is unlikely to ever be resolved to everyone's satisfaction. One fact is indisputable, though. For those who watched wrestling before it became "sports entertainment," there is only one answer — Lou Thesz.The son of European immigrants, Thesz discovered his love of amateur wrestling as a shy eight-year-old, scuffling with his father at night on the linoleum floor of the family's kitchen in south St. Louis. He was a natural at the sport, blessed with lightning-fast reflexes and a determination to succeed. He was obsessive about conditioning and hungry to learn, and those qualities eventually led him, as a teenager, into the closed and secretive world of pro wrestling, the only place where he could continue to compete on the mat.This is Thesz' story — an adventure that took him to the heights of his chosen profession at a very young age and eventually into rings throughout the world. A devoted fan of pro wrestling, he won the respect and friendship of many of the legends. In the 1940s, when television demanded more action and a flashier style of wrestling, he became the transitional figure, the link to the past. Thesz decried the rise of "gimmick" performers like Gorgeous George and Buddy Rogers, who diminished the importance of the authentic style of wrestling he loved and practiced, but he adjusted because the bottom line of pro wrestling, as with any pro endeavor, was making money, and he could see where the future lay.In the late 1940s and well into the 1950s, he was the world heavyweight champion of the National Wrestling Alliance, its standard-bearer, and he carried those colors with dignity and class. "My gimmick was wrestling," he said, and it was evident to anyone who ever bought a ticket to see Lou Thesz that he was the real thing."Hooker" was something of a sensation among wrestling fans when it was first published in the 1990s because it was among the first accounts ever published by a major wrestling star that discussed the business with candor from the inside. Academics praised the book, too, for its clear depiction of an era and the rise of a cultural phenomenon.This is a book for everyone with an interest in professional wrestling. This new edition published by Crowbar Press contains pages and pages of new material — stories and anecdotes — none of which has been published in any previous edition and all in the voice of one of the legendary figures of the game. Every sentence has been thoroughly combed over and vetted in order to answer any questions previously asked by readers, or to correct and/or re-order the "facts" as Lou recalled them, and each chapter now has detailed endnotes to further supplement the text. Combine all those ingredients with all-new, spellbinding forewords by Charlie Thesz and Kit Bauman (comprising 26 pages), an extensive 32-page "addendum" in Lou's own words, and a comprehensive name-and-subject index, and you have the definitive tome devoted to wrestling's golden era.This is "no holds barred" material — far more open and truthful than anything ever written about professional wrestling.

    

    Hunter's A Bright New Boise is a earnest comedy about the meager profits of modern faith. In the bleak, corporate break room of a craft store in Idaho, someone is summoning The Rapture. Will, who has fled his rural hometown after a scandal at his Evangelical church, comes to the Hobby Lobby, not only f