Theatre in London has celebrated a rich and influential history, and in 1976 the first volume of J. P. Wearing’s reference series provided researchers with an indispensable resource of these productions. In the decades since the original calendars were produced, several research aids have become available, notably various reference works and the digitization of important newspapers and relevant periodicals. The second edition of The London Stage 1890–1899: A Calendar of Productions, Performers, and Personnel provides a chronological calendar of London shows from the first of January, 1890, through the 31st of December, 1899. The volume chronicles more than 3,000 productions at 31 major central London theatres during this period. For each entry the following information is provided: Title Author Theatre Performers Personnel Opening and Closing Dates Number of Performances Other details include genre of the production, number of acts, and a list of reviews. A comment section includes other interesting information, such as plot description, first-night reception by the audience, noteworthy performances, staging elements, and details of performances in New York either prior to or after the London production. Among the plays staged in London during this decade were Alice in Wonderland, Arms and the Man, Cyrano de Bergerac, An Ideal Husband, The Prisoner of Zenda, and The Second Mrs. Tanqueray, as well as numerous musical comedies (British and American), foreign works, operas, and revivals of English classics. A definitive resource, this edition revises, corrects, and expands the original calendar. In addition, approximately 20 percent of the material—in particular, information of adaptations and translations, plot sources, and comment information—is new. Arranged chronologically, the shows are fully indexed by title, genre, and theatre. A general index includes numerous subject entries on such topics as acting, audiences, censorship, costumes, managers, performers, prompters, staging, and ticket prices. The London Stage 1890–1899 will be of value to scholars, theatrical personnel, librarians, writers, journalists, and historians.
A daring abduction. A sinister plot. A family on the edge of ruin. A newborn is missing, and security camera footage implicates a kidnapper who shares Emelynn Taylor’s gift of flight. With the baby’s life in danger, Emelynn races against the clock to find the child. But lies litter her path and deception blocks her at every turn. When Emelynn’s lover is the next to disappear, she suspects the kidnappings aren’t what they seem. In her desperate search, she uncovers a high-stakes conspiracy that jeopardizes the freedom of every Flier. Emelynn and her handler must defy orders to track down this new enemy in time to stop their treacherous scheme. And closer to home, a deeper deception threatens. Will Emelynn’s family survive the biggest lie of all? One that Emelynn has spent her whole life perfecting? The fifth book in The Gift Legacy series, Deadly Deception is a thriller that skirts the edges of reality in a world within our own. Strap on your parachute and escape the ordinary: take flight with Emelynn Taylor. Deadly Deception is a dark supernatural thriller, perfect for fans of JR Ward, Deborah Harkness, Jim Butcher, Charlaine Harris, and Keri Arthur.
The Feeder Fish follows Jim, who has the misfortune of being born a Feeder Fish with only one thing to look forward to: being a happy meal for something carnivorous and unhappy. All Jim knows is fluorescent lights, fish flakes, and glass walls, until a fish named Barry jumps into his fish tank and explains everything. His fate seems sealed when a carnival comes to town and changes Jim’s destiny, finding him the forever home he has always longed for. But all that is about to change when Mona plops into his life and turns Jim’s fishbowl upside down. His once peaceful life becomes a memory when he soon finds himself treading water in a world as big as an ocean. There he discovers not only BFFs (Best Fish Forever), but adventures filled with creatures he never dreamed existed. About the Author J. P. Sheridan explains, “It all began when my daughter brought home a goldfish she had won at the fair, having tossed a Ping-Pong ball into a small fishbowl. I wasn't very optimistic about Jim's future, since he was a bit on the scrawny side, but he surprised us, growing into a beautiful goldfish. During Jim's time with us, I often wondered about his past and if the other goldfish at the fair ended up as lucky.” The author was born in the Bronx, grew up in Washington Heights, and graduated from Lehman College, City University of New York.
Theatre in London has celebrated a rich and influential history, and in 1976 the first volume of J. P. Wearing’s reference series provided researchers with an indispensable resource of these productions. In the decades since the original calendars were produced, several research aids have become available, notably various reference works and the digitization of important newspapers and relevant periodicals. The second edition of The London Stage 1930–1939: A Calendar of Productions, Performers, and Personnel provides a chronological calendar of London shows from January 1930 through December 1939. The volume chronicles more than 4,250 productions at 61 major central London theatres during this period. For each production the following information is provided: Title Author Theatre Performers Personnel Opening and Closing Dates Number of Performances Other details include genre of the production, number of acts, and a list of reviews. A comment section includes other interesting information, such as plot description, first-night reception by the audience, noteworthy performances, staging elements, and details of performances in New York either prior to or after the London production. Among the plays staged in London during this decade were The Barretts of Wimpole Street, French without Tears, George and Margaret, The Greeks Had a Word for It, Laburnum Grove, Lady Precious Stream, The Late Christopher Bean, Love on the Dole, Me and My Girl, Private Lives, and 1066 and All That, as well as numerous musical comedies (British and American), foreign works, operas, ballets, and revivals of English classics. A definitive resource, this edition revises, corrects, and expands the original calendar. In addition, approximately 20 percent of the material—in particular, information of adaptations and translations, plot sources, and comment information—is new. Arranged chronologically, the shows are fully indexed by title, genre, and theatre. A general index includes numerous subject entries on such topics as acting, audiences, censorship, costumes, managers, performers, prompters, staging, and ticket prices. The London Stage 1930-1939 will be of value to scholars, theatrical personnel, librarians, writers, journalists, and historians.
In 1938 Malaya, Japanese intelligence officers and pro-Independence Indians conspire to test their suspicions about British intelligence officer Philip Rance by attempting to burgle his office. The plot is foiled by Rance’s teenage son, Jason, who must move to England to escape revenge. Singapore and Malaya fall to the Japanese and captured Indian POWs are enlisted in the anti-British ‘Indian National Army’ under Subhas Chandra Bose. All four unsuccessful burglars are involved: one re-enters India by submarine, two by parachute and the fourth is sent to fight against British forces in Burma. Having been commissioned in India, the young Jason Rance now serves in a Gurkha battalion. Detailed to teach the Chinese army in India about Bren guns before being attached to a Nepalese unit for sniper work, he finds himself unwittingly involved against all four renegades who try to kill him. Based on historical fact and the author’s personal knowledge, Operation Black Rose is the first in a series of books involving Gurkha military units that may be read in any order and includes Operation Janus, Operation Blind Spot, Operation Stealth and Operation Four Rings. The author, a retired Gurkha colonel, draws on real characters and events he witnessed across various theatres of war.
A dishonourable legacy. A powerful enemy. A future threatened. While recovering from a psychopath’s savage attack, Emelynn Taylor learns the ugly truth: deceit spawned her gift of flight, and ruthless brutality safeguards it. But knowing the truth doesn’t prepare Emelynn for the terrorist who rips her world apart. And when the escalating violence spreads to the inner circle of her covert community, Emelynn uncovers a conspiracy that threatens to expose the gift and all those who share it. Emelynn joins forces with a man she doesn’t trust and a family she doesn’t know to fight a menace that cloaks itself in lies. And when she lands at the feet of a dangerous enemy, Emelynn must face her worst fears to save the people she loves—and she must do it alone. The third book in The Gift Legacy series, Burning Lies is a thriller that skirts the edges of reality in a world within our own. Step inside and escape the ordinary: take flight with Emelynn Taylor. Burning Lies is a dark supernatural thriller, perfect for fans of JR Ward, Deborah Harkness, Jim Butcher, Charlaine Harris, and Keri Arthur.
Olivia Shaw just landed her dream role. Now someone is killing everyone she loves to scare her out of it. Thrown into the world of superfans, paparazzi, and Hollywood egos, NYPD Detective Cat Carmichael and her squad must race against the clock to find the killer before Olivia becomes a victim herself.
A forbidden book. A dangerous secret. A life in the balance. In the wake of a bullet and a broken heart, Emelynn Taylor learns the true portent of a gift she can barely control. Her discovery of a forbidden book unlocks explosive secrets that connect her to a past she never imagined. Now someone is threatening to expose those secrets, and an unknown assailant is hunting her. With everyone hiding something, whom can she trust? Emelynn is thrust into the eye of a storm as two powerful factions clash: one ancient, one evil. And both of them want a piece of her. Knowing that not even her gift of flight will save her, Emelynn forms an uneasy partnership with a dangerous man she must learn to trust—and then she must risk her gift and her future to protect her friends’ lives. The second book in The Gift Legacy series, Hidden Enemy is a thriller that skirts the edges of reality in a world within our own. Climb aboard and escape the ordinary: take flight with Emelynn Taylor. Hidden Enemy is a dark supernatural thriller, perfect for fans of JR Ward, Deborah Harkness, Jim Butcher, Charlaine Harris, and Keri Arthur.
A dead man’s warning. A lost plane wreck. A buried truth. A dire warning from beyond the grave leaves Emelynn Taylor questioning her loyalties. Did someone she loves commit an unforgivable act of treachery? In her quest for answers, Emelynn opens a painful cold case knowing its resolution could destroy two families. What she finds tests Emelynn’s integrity as the leadership changes hands within the Tribunal Novem, the powerful body that rules her kind. When confronted with betrayal and lies, Emelynn must follow her moral compass, even if it means losing the man she loves and alienating her Flier friends. And when the terrible truth is unearthed, Emelynn is set on a collision course with two titans and a battle she can’t possibly win. The sixth book in The Gift Legacy series, Wings of Prey is a thriller that skirts the edges of reality in a world within our own. Hold on tight and escape the ordinary: take flight with Emelynn Taylor. Wings of Prey is a dark supernatural thriller, perfect for fans of JR Ward, Deborah Harkness, Jim Butcher, Charlaine Harris, and Keri Arthur.
Every seven years, a boy disappears from Camp Waukeelo. Who will be next? It doesn't take long for a little boy to disappear. Joey Proctor can't swim, but that doesn't stop camp counselor Alex Mason from leaving him out on a raft in the middle of the lake in a fit of rage. Alex only meant to scare the kid, teach him a lesson. He didn't mean to forget about him. But now Joey is gone... and his body is never found. More than twenty years later, Alex is a success. The proof is there for anyone to see, in the millions of dollars he makes, his lavish house, his beautiful wife and daughters. And no one knows what happened that summer at camp. At least, no one should know. But it looks like Joey Proctor may be back to take his revenge...
A body in the water. A vast ocean. A killer on the loose. In the midst of a bloody rebellion, Emelynn Taylor exposes her gift of flight to save a man’s life. Now International Covert Operations knows her secret. The powerful organization is willing to cover up the carnage and protect her secret—in exchange for her services. Her first assignment, a drug case in the coastal city of Vancouver, soon reveals a grisly murder that implicates one of her own kind. Stalked by the ancient Tribunal Novem and vilified by a distrustful team of detectives, Emelynn takes on a perilous undercover role embedded in a drug ring where anyone could be the murderer. Intrigue and danger lurk in the cold Pacific, challenging Emelynn’s unique gift and pitting her loyalties against her honour. And her choice is guaranteed to hurt someone. The fourth book in The Gift Legacy series, Lethal Waters is a thriller that skirts the edges of reality in a world within our own. Don your life jacket and escape the ordinary: take flight with Emelynn Taylor. Lethal Waters is a dark supernatural thriller, perfect for fans of JR Ward, Deborah Harkness, Jim Butcher, Charlaine Harris, and Keri Arthur.
Theatre in London has celebrated a rich and influential history, and in 1976 the first volume of J. P. Wearing’s reference series provided researchers with an indispensable resource of these productions. In the decades since the original calendars were produced, several research aids have become available, notably various reference works and the digitization of important newspapers and relevant periodicals. The second edition of The London Stage 1950–1959: A Calendar of Productions, Performers, and Personnel provides a chronological calendar of London shows from the first of January, 1950, through the 31st of December, 1959. The volume chronicles more than 3,100 productions at 52 major central London theatres during this period. For each production the following information is provided: Title Author Theatre Performers Personnel Opening and Closing Dates Number of Performances Other details include genre of the production, number of acts, and a list of reviews. A comment section includes other interesting information, such as plot description, first-night reception by the audience, noteworthy performances, staging elements, and details of performances in New York either prior to or after the London production. Among the plays staged in London during this decade were Look Back in Anger, One Way Pendulum, The Birthday Party, A Taste of Honey, Chicken Soup with Barley, Five Finger Exercise, The Hostage, and Waiting for Godot, as well as numerous musical comedies (British and American), foreign works, operas, ballets, and revivals of English classics. A definitive resource, this edition revises, corrects, and expands the original calendar. In addition, approximately 20 percent of the material—in particular, information of adaptations and translations, plot sources, and comment information—is new. Arranged chronologically, the shows are fully indexed by title, genre, and theatre. A general index includes numerous subject entries on such topics as acting, audiences, censorship, costumes, managers, performers, prompters, staging, and ticket prices. The London Stage 1950-1959 will be of value to scholars, theatrical personnel, librarians, writers, journalists, and historians.
Theatre in London has celebrated a rich and influential history, and in 1976 the first volume of J. P. Wearing’s reference series provided researchers with an indispensable resource of these productions. In the decades since the original calendars were produced, several research aids have become available, notably various reference works and the digitization of relevant newspapers and periodicals. This second edition of The London Stage 1910–1919: A Calendar of Productions, Performers, and Personnel provides a chronological calendar of London shows from January 1910 through December 1919. The volume chronicles more than 3,000 productions at 35 major central London theatres during this period. For each entry the following information is provided: Title Author Theatre Performers Personnel Opening and closing dates Number of performances Other details include genre of the production, number of acts, and a list of reviews. A comment section includes other interesting information, such as a plot description, first-night audience reception, noteworthy performances, staging elements, and details of performances in New York either prior to or after the London production. Among the plays staged in London during this decade were Chu Chin Chow, The Gaol Gate, Hindle Wakes, Justice, Kismet, Pygmalion, and Rebecca of Sunnybrook Farm, as well as numerous musical comedies (British and American), foreign works, operas, and revivals of English classics. A definitive resource, this edition revises, corrects, and expands the original calendar. In addition, approximately 20 percent of the material—in particular, information on adaptations and translations, plot sources, and comments—is new. Arranged chronologically, the shows are fully indexed by title, genre, and theatre. A general index includes numerous subject entries on such topics as acting, audiences, censorship, costumes, managers, performers, prompters, staging, and ticket prices. The London Stage 1910–1919 will be of value to scholars, theatrical personnel, librarians, writers, journalists, and historians.
Theatre in London has celebrated a rich and influential history, and in 1976 the first volume of J. P. Wearing’s reference series provided researchers with an indispensable resource of these productions. In the decades since the original calendars were produced, several research aids have become available, notably various reference works and the digitization of important newspapers and relevant periodicals. The second edition of The London Stage 1920–1929: A Calendar of Productions, Performers, and Personnel provides a chronological calendar of London shows from January 1920 through December 1929. The volume chronicles more than 4,000 productions at 51 major central London theatres during this period. For each entry the following information is provided: Title Author Theatre Performers Personnel Opening and Closing Dates Number of Performances Other details include genre of the production, number of acts, and a list of reviews. A comment section includes other interesting information, such as plot description, first-night reception by the audience, noteworthy performances, staging elements, and details of performances in New York either prior to or after the London production. Among the plays staged in London during this decade were Bulldog Drummond, The Emperor Jones, The Enchanted Cottage, Gentlemen Prefer Blondes, Hay Fever, Saint Joan, and Six Characters in Search of an Author, as well as numerous musical comedies (British and American), foreign works, operas, and ballets, revivals of English classics. A definitive resource, this edition revises, corrects, and expands the original calendar. In addition, approximately 20 percent of the material—in particular, information of adaptations and translations, plot sources, and comment information—is new. Arranged chronologically, the shows are fully indexed by title, genre, and theatre. A general index includes numerous subject entries on such topics as acting, audiences, censorship, costumes, managers, performers, prompters, staging, and ticket prices. The London Stage 1920-1929 will be of value to scholars, theatrical personnel, librarians, writers, journalists, and historians.
For centuries, London theatre has celebrated a rich and influential history, and in 1976, the first volume of J. P. Wearing’s reference series provided scholars and other researchers with an indispensable resource of these productions. In the decades since the original calendars were produced, several research aids have become available, notably various reference works and the digitization of important newspapers and relevant periodicals. The London Stage 1900-1909 A Calendar of Productions, Performers, and Personnel, Second Edition provides a chronological calendar of London shows from January 1900 through December 1909. The volume chronicles more than 3,000 productions at 35 selected, major central London theatres during this period. For each entry the following information is provided: Title Author Theatre Performers Personnel Opening and Closing Dates Number of Performances Other details include genre of the production, number of acts, and references to reviews. A comment section includes other interesting information, such as a plot description, the first-night reception by the audience, noteworthy performances, staging elements, and details of performances in New York either prior to or after the London production. Among the plays staged in London during this decade were Candida, His House in Order, The Only Way, The Playboy of the Western World, Raffles (The Amateur Cracksman), and The Scarlet Pimpernel, as well as numerous musical comedies (British and American), foreign works, operas, and revivals of English classics. A definitive resource, this edition revises, corrects, and expands the original, well-received calendar. In addition, approximately 20 percent of the material—in particular, information of adaptations and translations, plot sources, and comment information—is new. Arranged chronologically, the shows are indexed fully by title, genre, and theatre. A general index also includes numerous subject entries on such topics as acting, audiences, censorship, costumes, managers, performers, prompters, staging, ticket prices, or other relevant subjects. An authoritative reference providing essential details, this work will be of value to scholars, theatrical personnel, librarians, writers, journalists, and historians.
Theatre in London has celebrated a rich and influential history, and in 1976 the first volume of J. P. Wearing’s reference series provided researchers with an indispensable resource of these productions. In the decades since the original calendars were produced, several research aids have become available, notably various reference works and the digitization of important newspapers and relevant periodicals. The second edition of The London Stage 1940–1949: A Calendar of Productions, Performers, and Personnel provides a chronological calendar of London shows from January 1940 through December 1949. The volume chronicles more than 2,400 productions at 53 major central London theatres during this period. For each production the following information is provided: Title Author Theatre Performers Personnel Opening and Closing Dates Number of Performances Other details include genre of the production, number of acts, and a list of reviews. A comment section includes other interesting information, such as plot description, first-night reception by the audience, noteworthy performances, staging elements, and details of performances in New York either prior to or after the London production. Among the plays staged in London during this decade were The Light of Heart, Mr. Bolfry, Perchance to Dream, Pacific 1860, Bless the Bride, The Lady’s Not for Burning, The Late Edwina Black, Outrageous Fortune, Seagulls over Sorrento, and Buoyant Billions, as well as numerous musical comedies (British and American), foreign works, operas, ballets, and revivals of English classics. A definitive resource, this edition revises, corrects, and expands the original calendar. In addition, approximately 20 percent of the material—in particular, information of adaptations and translations, plot sources, and comment information—is new. Arranged chronologically, the shows are fully indexed by title, genre, and theatre. A general index includes numerous subject entries on such topics as acting, audiences, censorship, costumes, managers, performers, prompters, staging, and ticket prices. The London Stage 1940-1949 will be of value to scholars, theatrical personnel, librarians, writers, journalists, and historians.
Theatre in London has celebrated a rich and influential history, and in 1976 the first volume of J. P. Wearing’s reference series provided researchers with an indispensable resource of these productions. In the decades since the original calendars were produced, several research aids have become available, notably various reference works and the digitization of important newspapers and relevant periodicals. Spanning 1890 through the 1950s, all seven volumes of The London Stage series have been revised, corrected, and expanded. In addition, approximately 20 percent of the material—in particular, information about adaptations and translations, plot sources, and comment information—is new. Although each volume contains indexes specific to that decade, The London Stage 1890–1959: Accumulated Indexes combines all of the indexes into one comprehensive resource for more efficient research. For example, those wishing to locate all the references to a particular actor, play, or theatre whose history spanned more than one decade will find all of the entries listed in this set. This set includes four key indexes: general, genre, theatre, and title. The general index consists of numerous subject entries on such topics as acting, audiences, censorship, costumes, managers, performers, prompters, staging, and ticket prices. With approximately 40,000 people listed, this is the largest single source of theatrical personnel on the London stage during this period. The genre index comprises all entries for production types, including comedies, dramas, farces, and tragedies, as well as ballets, operas, adaptations, foreign works, pantomimes, and translations. The theatre index features every building to stage a production, from the Adelphi to Wyndham’s. The title index cites 14,000 productions, identifying every work produced on stage from Domestic Economy in January 1890 to When in Rome in December 1959. As a supplement to the individual volumes, The London Stage 1890–1959: Accumulated Indexes will be of value to scholars, theatrical personnel, librarians, writers, journalists, and historians.
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