(Applause Books). Shakespeare, Coward, Christie, Lloyd Webber and so many more ... you'll encounter them all using this wonderful tour guide on walks through theatrical history in present-day London. Applause is pleased to present a substantially revised, new edition of one of our most popular titles, London Theatre Walks . Jim De Young is out to entertain and educate as he guides his readers through the streets of London with authority, humor and relish. It's like having a personal tour guide escorting you from the magnificently restored Globe Theatre to the newly remodeled Lyceum Theatre, from Shakespeare to Les Miserables . London Theatre Walks reveals the original inspirations for some of the most famous plays in the English language. It visits the trysting spots of London's greatest actors and actresses, and the homes of England's greatest playwrights. All the tours begin and end at a well-known London landmark, making them easy and safe for even a first-time visitor. Every expedition is filled with enough detail to satisfy the most curious scholar, and enough juicy gossip and colorful legend to entertain every theatre fan. And the tour guides don't believe in walking with parched throats; they point out dozens of theatrical watering holes along the way. Detailed maps accompany the 13 easy-to-follow tours, which have been updated with the most contemporary information.
We're family. We don't have to like each other. Things are never easy for Ellis when the family gets together. A dad who doesn't get him, a cousin who can do no wrong, a (not-so-passive) aggressive grandma, his dad's latest intolerable girlfriend and a grandpa in an urn are just some of the things Ellis has to contend with. When it begins to become tradition at these occasions for true feelings to be unearthed, is it finally time for Ellis to cut ties? Set in the back room of a social club, away from the main action, the play journeys us through a wake, a wedding and a christening, and lifts the lid on the tensions behind every family ritual. Many things change over the years but something that will always remain is the same cold buffet. Elijah Young's epic comedy The Cold Buffet follows the McCarthy family over five years of life, death and love. It's a delicious North East family saga laced with dry humour and a good dose of interpersonal tension. This edition was published to coincide with the world premiere at Newcastle's Live Theatre, in October 2023.
Between his 1962 debut A Knife in the Water and the 1968 blockbuster Rosemary’s Baby, Roman Polanski directed three movies—Repulsion, Cul-de-Sac, and Dance of the Vampires (a.k.a. The Fearless Vampire Killers)—that remain a crucial but too often overlooked piece of his filmography. In this remarkable behind-the-scenes look at the director's early output, Jordan Young gives us a revealing look at Polanski at work in the years before his rise to global renown. Drawing on new research and interviews with principals on both sides of the camera—including direct access to the director—Young shares eye-opening, freshly unearthed details. We witness Polanski making movies under some of the worst possible conditions, contending with financing nightmares (both Repulsion and Cul-de-Sac were underwritten by exploitation-film peddlers), poisonous enmities amongst cast and crew, and collaborators who, in the director's words, "did their best to make me feel like a monster." Polanski the provocateur is in full view here, placing actors in physical peril and deploying such unusual methods as slaughtering chickens to provide real blood for a death scene. While never shying away from unflattering or shocking details, Young still provides a nuanced and measured portrait of his subject—a rare look at a controversial artist in the act of creation.
The playwrights of these three funny, moving and provocative plays were chosen from 390 entrants to write a contemporary female response to Noel Coward’s Tonight at 8.30. Jenny Ayres’ Glimpse is inspired by Coward’s Still Life. It is the story of a woman whose history holds too much for her to leave behind. In a world that never stops, are we brave enough to wait? What might we glimpse if we miss the train? Emma Harding’s The Thing Itself reacts to Coward’s Shadow Play. When the sun fails to come up one morning, Vic and Simone must face the dark. But what emerges from the shadows? Truth or illusion? Morna Young’s Smite is inspired by Coward’s The Astonished Heart. It is a story of buried answers, blind hearts, and life after loss.
This book examines the manner in which Shakespeare's Hamlet was perceived in the eighteenth and nineteenth centuries and represented in the available visual media. The more than 2,000 visual images of Hamlet that the author has identified both reflected the critical reception of the play and simultaneously influenced the history of the ever-changing constructed cultural phenomenon that we refer to as Shakespeare. The visual material considered in this study offers a unique perspective that complements biographical, critical, and theater history studies by showing how a broad spectrum of the literate and not-so-literate absorbed and responded to Shakespeare's works, not necessarily in academic libraries or at play performances, but in their homes, when browsing in print shops, when reading in coffee houses, or (a far rarer experience) when visiting an art gallery or exhibition.
The seven essays included in this volume move beyond the famed Ashcan School to recover the lesser known work of Robert Henri's women students. The contributors, who include well-known scholars of art history, American studies, and cultural studies demonstrate how these women participated in the "modernizing" of women's roles during this era.
Dorothy and Leonard Elmhirst were the founders of Dartington - she the daughter of an American millionaire who was once Secretary to the US Navy; he the son of a Yorkshire parson and secretary to Rabindranath Tagore in Bengal before he married Dorothy. They were the twentieth century’s most substantial private patrons of architecture in England as well as of the arts and education. Dartington School was one of the most famous experimental schools in the world. Bertrand Russell sent his children there, as did Aldous Huxley and the Freuds. Dartington College of Arts and its associated Summer School of Music were equally famous in the world of the arts. Bernard Leach taught pottery, Mark Tobey painting, and Imogen Holst music. The Amadeus Quartet was formed there. Benjamin Britten and Peter Pears were frequent performers. In a setting of great beauty, school and college belonged to a general experiment in rural reconstruction. Dartington Glass was made in the Devonshire countryside and exported world-wide. So were Dartington Textiles, Dartington Furniture and Dartington Pottery. This book, originally published in 1982 (and reissued in 1996), describes how a unique combination of education, arts, industry and agriculture came to be put together. The result was one of the hardiest Utopian communities of modern times. It eventually overcame the strong local opposition to such a daring undertaking. The author finds the origins of modern Dartington in the founders’ hopes that mankind would be liberated through education; that a new flowering of the arts would transform a society impoverished by industrialisation and secularisation; and that a society seeking to draw together town and country would combine the best of both worlds. This book is an extraordinary memoir of two people and the place they made.
Through a blend of personal narrative, cultural and literary analysis, and discussions about teaching, Minor Re/Visions: Asian American Literacy Narratives as a Rhetoric of Citizenship shows how people of color use reading and writing to develop and articulate notions of citizenship. Morris Young begins with a narration of his own literacy experiences to illustrate the complicated relationship among literacy, race, and citizenship and to reveal the tensions that exist between competing beliefs and uses of literacy among those who are part of dominant American culture and those who are positioned as minorities. Influenced by the literacy narratives of other writers of color, Young theorizes an Asian American rhetoric by examining the rhetorical construction of American citizenship in works such as Richard Rodriguez’s Hunger of Memory, Victor Villanueva’s Bootstraps: From an American Academic of Color, Carlos Bulosan’s America Is in the Heart, and Maxine Hong Kingston’s “Song for a Barbarian Reed Pipe” from Woman Warrior. These narratives, Young shows, tell stories of transformation through education, the acquisition of literacy, and cultural assimilation and resistance. They also offer an important revision to the American story by inserting the minor and creating a tension amid dominant discourses about literacy, race, and citizenship. Through a consideration of the literacy narratives of Hawai`i, Young also provides a context for reading literacy narratives as responses to racism, linguistic discrimination, and attempts at “othering” in a particular region. As we are faced with dominant discourses that construct race and citizenship in problematic ways and as official institutions become even more powerful and prevalent in silencing minor voices, Minor Re/Visions reveals the critical need for revising minority and dominant discourses. Young’s observations and conclusions have important implications for the ways rhetoricians and compositionists read, teach, and assign literacy narratives.
British National Health Service employee Phyllis Dorothy James White (1920-2014) reinvented herself at age 38 as P.D. James, crime novelist. She then became long known as England's "Queen of Crime." Sixteen of her 20 novels feature one or both of her series detectives, Adam Dalgliesh of Scotland Yard and private eye Cordelia Gray. Stand-alone works include the dystopian The Children of Men (1992) and Death Comes to Pemberley (2011), a sequel to Jane Austen's Pride and Prejudice. James's careful plotting has earned comparison with Golden Age British detective writers such as Agatha Christie and Dorothy L. Sayers. Yet James's work is thoroughly modern, with realistic descriptions of police procedures and the echoes and aftereffects of crime. This literary companion includes more than 700 encyclopedic entries covering the characters, settings and themes of her published writing, along with a career chronology, chronological and alphabetical listings of her works, and an exhaustive index.
From the star-crossed romance of Romeo and Juliet to Othello's misguided murder of Desdemona to the betrayal of King Lear by his daughters, family life is central to Shakespeare's dramas. This book helps students learn about family life in Shakespeare's England and in his plays. The book begins with an overview of the roots of Renaissance family life in the classical era and Middle Ages. This is followed by an extended consideration of family life in Elizabethan England. The book then explores how Shakespeare treats family life in his plays. Later chapters then examine how productions of his plays have treated scenes related to family life, and how scholars and critics have responded to family life in his works. The volume closes with a bibliography of print and electronic resources. The volume begins with a look at the classical and medieval background of family life in the Early Modern era. This is followed by a sustained discussion of family life in Shakespeare's world. The book then examines issues related to family life across a broad range of Shakespeare's works. Later chapters then examine how productions of the plays have treated scenes concerning family life, and how scholars and critics have commented on family life in Shakespeare's writings. The volume closes with a bibliography of print and electronic resources for student research. Students of literature will value this book for its illumination of critical scenes in Shakespeare's works, while students in social studies and history courses will appreciate its use of Shakespeare to explore daily life in the Elizabethan age.
In the United States during the early 1980s, hundreds of day care providers were accused of sexually abusing their young charges in satanic rituals that included blood drinking, cannibalism, and human sacrifice. The panic surrounding the ritual abuse of children has spread quickly to Canada, Europe, and Australasia, and its rapid dispersion has been unimpeded by international investigations that found no evidence to corroborate the allegations and warned that a moral panic was thrusting them into professional public attention. This work is a sociologically based analysis of the day care ritual abuse panic in America. It introduces the concept of moral panic and analyzes its relevance to the ritual abuse scare, explores the ideological, political, economic, and professional forces that fomented the panic, discusses the McMartin Preschool case as the incident that brought attention to satanic menaces and children, and examines the dialect between the various interest groups that stirred up and spread the moral panic and the day care providers accused of ritual abuse. Also covered are the popular culture representations of day care ritual abuse, the diffusion of the scare to areas overseas, the institutionally symbolic and ideologically contradictory social ends of the panic, and the outcomes of the panic in various settings. The book ends with a discussion of moral panic theory and how it needs to be changed for a complex, multi-mediated postmodern culture, and what lessons can be learned from the scare.
A juke box is a bright, colorful modern era troubadour with a repertoire of popular songs. You select (and insert coins) to hear a ballad, a love song, a cautionary tale, a humorous, or sad, or happy song. You get tears or smiles or both at the same time. Sometimes you get a gift you weren't expecting. But always your heart is pierced once again and the nickel dream is over too soon. I hope that you like the songs in this Juke Box.
A child of the Second World War, Alan Young developed two passions early in life; music and literature. In his twenties, having flunked an interview for the BBC, he decided to leave the world of academia behind and seek adventure in East Africa, using his academic experience to teach native Kenyans under the Teachers for East Africa scheme and becoming, briefly, an Outward Bound instructor helping to lead a party up Kilimanjaro. Roads Taken is his account of those vividly remembered days in a strange land which became a second home to him and where he made friends from all races and backgrounds.ÿ
The English humour magazine Punch, or the London Charivari, which first appeared in 1841, quickly became something of a national institution with a large and multi-layered readership. Though comic in tone, Punch was deeply serious about upholding high literary and artistic standards, about dealing with serious subject-matter, and about attempting to nurture its readers' appreciation of the national drama and of Shakespeare's plays in particular. The author's detailed examination of Punch's constant advocacy of Shakespeare reveals telling new evidence concerning the ubiquitous presence of Shakespeare within Victorian culture. New research in the Punch archives and elsewhere also reveals the identities of many of the Punch authors and artists. The author shows how those who worked for Punch often subsumed their collective identities within the single persona of Mr. Punch, a fictional creation who repeatedly presents himself in both texts and graphics as a close friend and admirer of Shakespeare, a man able to remind Victorian readers constantly of the supreme literary and moral values represented by Shakespeare's works.
I am flying. I swoop over the rooftops of Liverpool, over the waterfront and out to sea, following a trawler as it drags its nets through the wild sea. I am a sixteen-year-old bird boy, addicted to seagull blood, flying through sea-storms, up to the moon . . . On the run from tragedy, Lucas escaped Liverpool - then a city cast aside, a city crumbling. Now he's back, the old gang don't rush to welcome him home and ghosts haunt the ruins of their childhood playgrounds. The city chases renaissance: could his love affair with childhood sweetheart Lizzie blossom again too? Bright Phoenix is a wild, dream-like play about the carnival of the city at night; about a gang of rebel kids who still don't quite fit in as grown-ups; and about their love for a dying cinema and their mad plan to bring it back to life like a phoenix. Featuring live music, Jeff Young's epic and poetic play reveals the magic of forgotten places and dreaming beneath the stars. The play received its world premiere at the Liverpool Everyman on 3 October 2014.
Let’s Dance: A Celebration of Ontario’s Dance Halls and Summer Dance Pavilions is a nostalgic musical journey, recapturing the unforgettable music of youth and lasting friendships, the days when the live mellow sounds of Big Bands wafted through the air – Louis Armstrong, the Dorsey Brothers, Bert Niosi, Art Hallman, Johnny Downs, Mart Kenney, Bobby Kinsman, Ronnie Hawkins ... Throughout the 1920s to the ’60s, numerous legendary entertainers drew thousands of people to such memorable venues as the Brant Inn in Burlington, Dunn’s Pavilion in Bala, the Stork Club at Port Stanley, to the Club Commodore in Belleville and the Top Hat Pavilion in North Bay – and the hundreds of other popular dance venues right across Ontario. From the days of jitney dancing through the introduction of jazz and the Big Bands era to the sounds of some of Ontario’s best rock groups, people of all ages came to dance and some to find romance on soft summer nights.
A storm is brewing in a small fishing village. A young woman returns home, searching for answers about her father's death. But as she begins to weave together the strands of her past, a mysterious force unravels family secrets. Lost at Sea journeys through a labyrinth of myth and memory in an epic tale spanning forty years of the fishing industry. Featuring the voices of fishermen and their families in their own words - with music, songs and Scots language – it is the lyrical and powerfully evocative story of a North-East fishing family. Inspired by the loss of playwright Morna Young's fisherman father, Lost at Sea is a personal tribute to the fishing communities of Scotland.
The 11 plays in this collection represent the short play form as currently presented in American theater. Seeking to honor the artistry of established playwrights, encourage the emerging, and acknowledge the promising, the volume begins with Richard Greenberg's "The Author's Voice," one of the hits of New York City's Ensemble Studio Theatre's Marathon '87. The plays range in coverage from the topical social problems of AIDS in Lanford Wilson's "A Poster of the Cosmos" and spouse abuse in Edward Alan Baker's "Dolores"; the lyrical spiritual exploration in Ernest Ferlita's "The Mask of Hiroshima; character studies of an aging writer in "April Snow" the study of maternal love for the exceptional child in Katherine Snodgrass' "Haiku;" to the philosophical contemplation of fishing in William Lewis' "Trout" and the 1930s Black music history in Willy Holtzman's "San Antonio Sunset." ISBN 1-55783-045-2: $21.95
RUNAWAY is a fascinating account of the life and music of 60s rock star Del Shannon. From humble beginnings in the rural Midwest, this bar band guitarist rocketed to overnight superstar status when his first big hit clinched the #1 spot on the American Billboard charts, resulting in an international hit in over 20 other countries during the year 1961. Del Shannon soon followed up “Runaway” with more hits, including “Hats Off To Larry,” “So Long Baby,” “Hey! Little Girl,” “The Swiss Maid,” “Little Town Flirt,” “Two Kinds of Teardrops,” “Handy Man,” “Do You Wanna Dance,” “Keep Searchin’,” and “Stranger In Town.” Shannon was the first American artist to cover a Beatles song in “From Me To You.” In the late 60s and early 70s, he shifted his focus into production, launching the career of country artist Johnny Carver, discovering a group called Smith that saw a #3 hit with a Shannon-Smith arrangement of “Baby It’s You,” and produced fellow contemporary Brian Hyland’s Top 5 hit “Gypsy Woman.” Del worked with Jeff Lynne and Dave Edmunds in the 70s, with Tom Petty seeking him out to produce Shannon’s comeback album in 1981, resulting in a #33 hit “Sea of Love” in America.
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