This story is about a young twenty-four-year-old young lady, Jada Williams who is starting off as a waitress who just graduated from pilot school. She woke up late for work, and it ended up being a really bad day. Out of concern for a child's life, she followed a criminal in the act, which led her life into total chaos and destruction. Her world falls apart when she is accused of the crime. This man, Mr. Jenkins, a very powerful and dangerous man, decides he needs Jada in his life of crime. Once
This story is about a young twenty-four-year-old young lady, Jada Williams who is starting off as a waitress who just graduated from pilot school. She woke up late for work, and it ended up being a really bad day. Out of concern for a child's life, she followed a criminal in the act, which led her life into total chaos and destruction. Her world falls apart when she is accused of the crime. This man, Mr. Jenkins, a very powerful and dangerous man, decides he needs Jada in his life of crime. Once
This book situates the production of The Boy Friend and the Players' Theatre in the context of a post-war London and reads The Boy Friend, and Wilson's later work, as exercises in contemporary camp. It argues for Wilson as a significant and transitional figure both for musical theatre and for modes of homosexuality in the context of the pre-Wolfenden 1950s. Sandy Wilson's The Boy Friend is one of the most successful British musicals ever written. First produced at the Players' Theatre Club in London in 1953 it transferred to the West End and Broadway, making a star out of Julie Andrews and gave Twiggy a leading role in Ken Russell's 1971 film adaptation. Despite this success, little is known about Wilson, a gay writer working in Britain in the 1950s at a time when homosexuality was illegal. Drawing on original research assembled from the Wilson archives at the Harry Ransom Center, this is the first critical study of Wilson as a key figure of 1950s British theatre. Beginning with the often overlooked context of the Players' Theatre Club through to Wilson's relationship to industry figures such as Binkie Beaumont, Noël Coward and Ivor Novello, this study explores the work in the broader history of Soho gay culture. As well as a critical perspective on The Boy Friend, later works such as Divorce Me, Darling!, The Buccaneer and Valmouth are examined as well as uncompleted musical versions of Pygmalion and Goodbye to Berlin to give a comprehensive and original perspective on one of British theatre's most celebrated yet overlooked talents.
Deborah Luise Lutz explores support work relationships, the relationships between people with intellectual disabilities in receipt of a personal budget and their support workers. Through the methodology of Institutional Ethnography, she specifically investigates how personal budget policies that organize support work in Germany and Australia influence support work relationships. She found that the policies of personal budgets are connected to people’s views and expectations about the support work relationship and the support work context that influence the relationship. The author argues that disability research, policy and practice need to be cognisant of this interconnection to improve the quality of support work relationships.
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