David Rothenberg's multilayered life thrust him into Broadway's brightest lights, prison riots, political campaigns, civil rights sit-ins, and a Central American civil war. In his memoir, Fortune in My Eyes, his journey includes many of the most celebrated names in the theater: Richard Burton, Elizabeth Taylor, Bette Davis, Sir John Gielgud, Peggy Lee, Alvin Ailey, Lauren Bacall, Christine Ebersole, and numerous others.He produced an Off-Broadway prison drama, Fortune and Men's Eyes, which reshaped his life. John Herbert's chilling play led directly to the creation of the Fortune Society, which has evolved into one of the nation's most formidable advocacy and service organizations in criminal justice.Rothenberg was Elizabeth Taylor's opening night date at the Richard Burton Hamlet - a distant cry from his entering Attica prison during that institution's famed inmate uprising; these are just two of the experiences revealed in this memoir. As a theater publicist and producer - and as a social activist - he shares experiences with politicians and with anonymous men and women, out of prison, who have fought to reclaim their lives. The human drama of the formerly incarcerated that unfolds in this book is a match for many of the entertainment world's most fabled characters.
The complete script to the critically acclaimed play.
THE MOTHER AND OTHER UNSAVORY PLAYS
A documented screenplay of the Oliver Stone film complete with historical annotation with 340 research notes and 97 reactions and commentaries by Norman Mailer Tom Wicker Gerald R. Ford and many others.ÞÞ It''s a lesson in craft to watch ÊJFKÊ on video while reading along charting what got cut softened and rethought. äÊEntertainment WeeklyÊ
Twenty-four leading voice experts speak out on the changing role of voice on stage. Essay topics include: Re-Discovering Lost Voices Û Thoughts on Theatre Therapy and the Art of Voice Û Finding Our Lost Singing Voices Û Voice Training Where Have We Come From? Û Vocal Coaching in Private Practice Û more.
Richard Wesley was witness to a revolution. As both a celebrated participant and eager student of the Black Theater Movement in the late 1960s, he became part of a seismic force in American culture, breaking down barriers and helping to disrupt the cultural landscape. It's Always Loud in the Balcony: A Life in Black Theater, from Harlem to Hollywood and Back is both history and memoir, tracing Wesley's roots from riot-torn Newark, New Jersey, across the rocky terrain of Harlem, and finally to Hollywood, where he became partners with Sidney Poitier, writing several successful films before returning to New York and the theater world-a trip that Wesley has wryly characterized as "black power to black establishment." Wesley unfolds the history of black theater with love and precision, from the emergence of Amiri Baraka, and his own debut, the fiercely militant Black Terror-which landed him a deal with the legendary producer Joseph Papp-through his moviemaking experience in Los Angeles, working with Bill Cosby and Richard Pryor, among others. Wesley lands on solid ground in the twenty-first century as an elder statesman, a happy witness to the great success of a new breed of black theater that includes the widespread success of Tyler Perry and Lin-Manuel Miranda's Hamilton, which brought hip-hop to Broadway. It's Always Loud in the Balcony is the passionate, firsthand account of a crucial American art movement whose effects will be felt for generations to come.
David Merrick is the most astonishing showman of our time.
Mel Gussow''s critically-acclaimed biography of the three-time Pulitzer Prize-winning playwright (ÊSeascapeÊ ÊA Delicate BalanceÊ ÊThe Zoo StoryÊ) who first electrified the American theatre scene in the 1960s with his groundbreaking ÊThe Zoo StoryÊ followed by the legendary ÊWho''s Afraid of Virginia Woolf?Ê
The script to the touching and funny play by Alan Zweibel about his relationship with famed comiedienne Gilda Radner.
This enduring biography of the popular writer begins with Ferber''s last years in New York City, exploring the setting in which she did all of her great writing. Diaries, copious correspondence, and the cooperation of distinguished living friends have resulted in a rich portrait of a period and a literary circle not yet fully documented, and an insightful engaging analysis of a woman writer highly influential in the shaping of twentieth century America.
Thomas Quinn Curtiss has reunited George Jean Nathan with his cohort, H.L. Mencken together with the rest of their set: Theodore Dreiser, Sherwood Anderson, Edmund Wilson, Sean O''Casey, F. Scott Fitzgerald, Alfred Knopf, Jack London and Somerset Maugham. The magnificent abandon of their enterprise and the hard drinking Bohemian wisdom of their writing propelled them and fueled generations of readers with their wit and philosophy. This is a biography of an era of men whose stories could only be written by an eyewitness.
The major critical texts from Aristotle and Zeami to Syinka and Havel. The best available collection of theoretical writing on the theatre from both the Eastern and Western traditions.
If there has ever been a groundbreaking edition that likewise returns the reader to the original Shakespeare text, it will be THE APPLAUSE FOLIO TEXTS. If there has ever been an accessible version of the Folio, it is this edition, set for the first time in modern fonts. The Folio is the source of all other editions. The Folio text forces us to re-examine the assumptions and prejudices which have encumbered over four hundred years of scholarship and performance. Notes refer the reader to subsequent editorial interventions, and offer the reader a multiplicity of interpretations. Notes also advise the reader on variations between Folios and Quartos. Prepared and annotated by Neil Freeman, Head, Graduate Directing Program, University of British Columbia.
DEFYING GRAVITY: THE CREATIVE CAREER OF STEPHEN SCHWARTZ FROM GODSPELL TO WICKED 2ND ED
BLACK COMEDY 9 PLAYS
The playscript to Ghost in the Machine by David Gilman begins with a common situation - that of a missing fifty dollar bill - and spins it into intriguing questions of probability, chance and the complexities of musical composition: illusion and reality.
"...a play about power, leadership, and the rough-and tumble process of social change. In its multifaceted search for the meaning behind the headline-grabbing events in Memphis, and in its depiction of the roots of black-vs.-black power struggles, it offers both food for thought and an emotional punch." - Chicago Sun-Times
Here is the first-ever collection of classic comic sketches from the bawdy, rowdy world of our slum music halls! HabituÉs of Burlesque (and sons of habituÉs) will revel in the boisterous stock scenes and blackouts of this uniquely American form of popular entertainment. Features a foreword by Dick Martin.
This Applause edtiion allows the reader and student to look beyond the scholarly reading text to the more sensuous, more collaborative, more malleable performance text which emerges in conjunction with the commentary and notes. Readers and students are faced with real theatrical choices in each speech as the editors point out the challenges and opportunities to the actor and director at each juncture. Readers will not only discover an enlivened Shakespeare, they will be empowered to rehearse and direct their own productions of the imagination in the process.
Voices of Color is a trailblazing collection of scenes and monologues by African American playwrights. This major omnibus of contemporary American writing will serve as a primary resource for African American artists in search of their own voice for the stage. Actors and directors will now have access to a much larger spectrum of work in which to shine. Readers will be introduced to a rich, vibrant medley of work of the human spirit. And schools, colleges and libraries will, at last, have the book we all need to fully explore America''s potential for drama.
John Russell Brown demonstrates just how much is in Shakespeare''s texts; how the language is awakened colored emphasized sensualized and extended in performance. Shakespeare''s intended readers were his collaborators not his commentators. Brown invites all Shakespeare lovers to seek their insights in Shakespeare''s natural habitat: the stage.
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