Theatre direction and production Books

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Book SynopsisThe script for the stage production of the bestselling Khaled Hosseini novel A Thousand Splendid Suns, as adapted by playwright Ursula Rani Sarma.Born a generation apart and with very different ideas about love and family, Mariam and Laila are two women brought jarringly together by war, by loss, and by fate. As they endure the ever-escalating dangers around them--in their home, as well as in the streets of Kabul--they come to form a bond that makes them both sisters and mother-daughter to each other, and that will ultimately alter the course not just of their own lives but of the next generation. With heart-wrenching power and suspense, playwright Ursula Rani Sarma reimagines Hosseini's novel to show how a woman's love for her family can move her to shocking and heroic acts of self-sacrifice, and that in the end it is love, or even the memory of love, that is often the key to survival.A stunning accomplishment, this reimagination of A Thousand Splendid

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Book SynopsisA Monologue is an Outrageous Situation! How to Survive the 60-Second Audition explains how to successfully tackle the cattle call acting audition with a sixty-second monologue. Through Q&As, tips, directorâs notes, and a glossary full of outrageous actions meant to inspire the actor into truly connecting with the piece, this book shows actors where and how to find a monologue, edit it, and give the best audition possible.Table of ContentsPart One: A Monologue is…? An Audition is an outrageous situation The Sixty second Dilemma What is a monologue? A monologue is an Outrageous situation What to Look for when choosing a Monologue What to Avoid in a Monologue Part Two: Working on a Monologue Read the Play Ask the Stanislavski Question Given Circumstances Take 3 Tips from the script Editing a Monologue—include Table Piecing a monologue together—include Table Memorize—ASAP Blocking How to Move (Because you must) Monologue Pitfalls Outrageous Exercises and Improvs Part Three: Time to Audition Steps of Your Audition How Should I introduce my Monologue? Where Should I place My Focus? Focus 1.0, 2.0 Should I take time to ‘get into it’ before I start? Your Actual Run Time Your Audition Must Show… Your Sixty-second Audition Must Prove… How much can the Auditors See in 60 seconds? What Do the Auditors Want to See in a Call Back? When Does the Audition Really Begin? When Does the Audition End? Part Four: "Just a Few Notes." Realism is Not Real Positive Negative Playing Emotion Playing Explosions Playing Characters that are Rich That are Poor That are heroic That are evil That are courageous That are cowardly Crying and Yelling is Not Dramatic Don’t TRY to be Funny Dress and Hygiene for Men Dress and Hygiene for Women Final Thought on Clothes Tattoo is Taboo Exit Epilogue Appendix MONOLOGUE SUGGESTIONS WHERE TO FIND MONOLOGUES UNIFIED AUDITIONS HEAD SHOT PRODUCTION

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Book SynopsisSpace: it's everywhere, all around, a given. It's abstract and yet not abstract at all, because it governs all human relations, shapes the way we understand our place on the planet, and orients us toward others (for better and for worse). How do theatre scholars understand space and place in performance? What tools do they use to theorize the political work space does on and beyond the stage? How can students use these tools to unpack the workings of space and place in the performances they see, the plays they study, and the experiences they have outside their classrooms?Theory for Theatre Studies: Space provides a comprehensive introduction to the spatial turn' in modern theatre and performance theory, exploring topics as diverse as embodied space, environmental performance politics and urban performance studies. The book is written in accessible prose and features in-depth case studies of Platform's audio walk And While London Burns, Katie Mitchell's Fraülein JulieTrade ReviewTheory for Theatre Studies investigates a wide range of methodologies to corroborate longstanding discourse surrounding space, place, and performance. Solga uses this volume to examine how new understandings of theatrical and performance events can evolve from varying approaches to and in theatrical spaces. A self-proclaimed modern feminist, Solga is also author of Theatre and Feminism (2016) and Violence against Women in Early Modern Performance: Invisible Acts (2009). From speculative queries to in-depth case studies, the present title offers insight into historical dramatic theories and unpacks 20th-century theater trends. Summing Up: Recommended. * CHOICE *Lucid and compelling ... [Provides] an engaging and accessible synthesis of spatial theories that will make this book an essential addition to undergraduate curricula ... A valuable and timely contribution to research on performance space. * New Theatre Quarterly *Kim Solga’s Theory for Theatre Studies: Space offers new considerations of foundational twentieth-century cultural materialism and boldly takes on vital new discourses. In so doing, Solga reinserts the stakes and dynamizes the discussion of spatiality in twenty-first-century theatre and performance studies. -- Scott Magelssen, University of Washington School of Drama, USASolga’s engaging synthesis of key spatial theories opens up provocative possibilities for better understanding space in and of the theatre. Vivid examples anchor her well-contextualised ideas on texts, venues, scenic design and politics. -- Professor Joanne Tompkins, The University of Queensland, AustraliaA fluid and rigorous field-guide to an important and stimulating area of study: this book covers a great deal of territory, offers a lively and accessible account of a complex theme, and synthesises theory, theatre and analysis with wit, confidence and clarity. -- Sophie Nield, Royal Holloway, University of LondonTable of ContentsAcknowledgements Series Preface Introduction: Making Room for Space at the Theatre Locate Yourself The Way Ahead Section One: Methodologies and Approaches The Back Story: The Spaces of Classical Dramatic Theory Contemporary Lens #1: Theatre and the Production of Social Space Contemporary Lens #2: Genre and “Topographic” Space Contemporary Lens #3: The Heterotopic Stage Section Two: Extended Case Studies Case Study #1: ‘And While London Burns’ Case Study #2: ‘Fräulein Julie’ Case Study #3: ‘The Shipment’ Section Three: Towards a Decolonized Stage Locating Settler Colonialism Seeing Like a Settler “A Concert and a Conversation”: ‘Kiinalik – These Sharp Tools’ Notes Further reading Bibliography Index

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Book SynopsisSince 2003, Mark Wheeller's plays have been routinely set for Edexcel GCSE Drama examinations, making him one of the most-studied contemporary playwrights alongside Alan Ayckbourn and John Godber. His plays include Hard to Swallow, Missing Dan Nolan and Too Much Punch For Judy. His play One Million To Stop The Traffik, about human trafficking, won the All England Theatre Festival. Wheeller has close associations with Edexcel: he is co-author of Edexcel GCSE Drama: Teacher Guide (2009) and has been an Assistant Principal Examiner for the board. He has worked extensively in schools, both as a teacher and teacher-trainer.

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Book SynopsisMartin Murphy's recent plays include Victim (Pleasance Courtyard, Edinburgh) RockStar (Lyric Hammersmith) Villain (Underbelly / Kings Head Theatre) and Worlds (VAULT Festival). His previous works include Manor (Soho Theatre) and Barren (Old Vic Theatre, 24 Hour Plays.) Martin also wrote the short film Poisoned and is half of the musical comedy double act Pistol and Jack who have performed at a range of venues including Soho Theatre, Assembly Edinburgh, NuWrite Festival Zagreb & Secret Garden Party.Trade Review[A] monologue that scarily and effectively shows how life can be shattered by public vilification, however unearned * Stage *Whatever the situation, it’s never fully revealed – the focus isn’t important in Martin Murphy’s writing, merely the emotion and the maelstrom that surrounds the detail. The moment itself is fleeting; the effect everlasting...Murphy’s show effortlessly proves that even the noblest of intentions can throw good people into the harsh realities of society * A Younger Theatre *I thoroughly recommend this play. ***** * one4review.co.uk *Engaging, provocative and insightful. 4.5 stars * The Fountain *

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Book SynopsisIs there a fundamental connection between New York''s Elevator Repair Service''s 9-hour production of The Great Gatsby and a Kathakali performance?How can we come to appreciate the slowness of Kabuki theatre as much as the pace of the Whatsapp theatre of post-Arab Spring Turkey?Can we go beyond our own culture''s contemporary definition of a ''good play'' and think about the theatre in a deep and pluralistic manner?Drawing on his extensive experience working with theatre artists, students and thinkers across the globe - up to and including an hour-long audience with the Dalai Lama - playwright Abhishek Majumdar considers why we make theatre and how we see it in different parts of the world. His own work has taken him from theatre in Japan to dance companies in the Phillippines, writers in Lebanon and Palestine, theatre groups in Burkina Faso, war-torn areas like Kashmir and North Eastern India, and to China and Tibet, Argentina and Mexico.Via a far-reaching Trade ReviewMajumdar’s processes sound more like those of a detective or an investigative reporter than a writer observing the world from a garret. For his Kashmir plays, he spent time in police bunkers and the dens of militants. For Pah-La, he decided he had to go to Lhasa, whatever the cost. * Arifa Akbar, The Guardian *For 15 years, Abhishek Majumdar has created plays on the fragility of human lives trapped in war and other upheavals. * Indian Express *Majumdar has behind him a remarkable body of work. His plays sweep a wide arc – they have dealt with generational angst, the dark goings-on at a monastery in 8th century, the trauma of wasted childhood, the politics of food, and the heart of extremist violence. But at their core, they always talk of humanism and its fight against tyranny and greed. * Scroll Magazine *Abhishek Majumdar’s book is a thrilling read, crossing continents, entering conflicts, and always informed by a questing fusion of art and politics. It is an essential map to how playwriting and play-making might reflect the fractured world we share. * Steve Waters, playwright *Table of ContentsAcknowledgments Table of Contents Introduction: Travels and Questions HOME The Quest for Tradition Language of Theatre The Enterprise AWAY Brecht in Kashmir The Kashmir Trilogy The Writing of Pah-la: A Theatre Journey across the Roof of the World Devising in the Tibetan Transit School Reading George C Wolfe’s The Coloured Museum In a New York Subway Hamidur Rehman: A Journey through Bangladesh and Germany. A Journey about a Journey OTHER GEOGRAPHIES Lessons in Pausing: From a theatre in West Africa to a Monastery in the Himalayas On Censorship The Pandemic and the Theatre Bibliography

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Book SynopsisThis book begins with a phone call. You answer it and learn that you got the job. Several months from now you're going to stage a Shakespeare play. Now what do you do? I mean, what do you do after that initial burst of adrenalin has passed through your body and you realize you haven't a clue as to what the play is really about, or what you might want to do with it? How exactly do you prepare for such an equally wonderful and daunting task? This is the central question of this book. It grows out of decades of preparing for Shakespeare productions and watching others do the same. It will save you some of the panic, wasted time, and fruitless paths experienced. It guides you through the crucial period of preparation and helps focus on such issues as: What Shakespeare's life, work, and world can tell us What patterns to look for in the text What techniques might help unpack Shakespeare's verse What approaches might unlock certain hidden meanings Trade ReviewThis is a powerful and useful book for directors and anyone interested in Shakespeare in the theatre. Kulick shows the wonderful ways that a director can combine research, study, and deep thought with flights of imagination and even dreams to bring Shakespeare to life on stage with vividness and originality. * Barry Edelstein, Erna Finci Viterbi Artistic Director, The Old Globe Theatre, San Diego, USA *Brian Kulick’s book is illuminated by his deep love for the plays of William Shakespeare. He writes from the perspective of an accomplished theater director who is also able to lucidly share his discoveries, his palpable curiosity and the vast pleasure in artistic engagement with the plays. His insights are assembled from a lifetime of scholarship and practice and are informed by his personal relationships with the cognoscenti of the contemporary theater world. * Anne Bogart *Brian Kulick's Staging Shakespeare is wonderfully comprehensive, deeply informative, and like its author, so damn smart. * George C. Wolfe *This book is a kind of miracle. Kulick's extraordinary learning and experience are fused with a loving clarity, a detailed precision, and marvelous imaginative breadth. Any director of Shakespeare, novice or master, will find much to inspire and appreciate here. A must-read. * Oskar Eustis *Table of ContentsIntroduction: “For It Hath No Bottom” Shakespeare and the Vertigo of Multiple Meaning PART ONE: “It Shall be Inventoried” A Brief Look at Shakespeare’s Dramatic World Chapter One: “Now Sir, What is Your Text?” Which Shakespeare; Which Text? Chapter Two: “And There is Much Music.” Learning to Read the Visible and Invisible Score of Shakespeare Chapter Three: “Wherefore Are These Things Hid?” Pattern Recognition in Shakespeare’s Plays Chapter Four: “Your Actions Are My Dreams;” Structure and Shakespeare Chapter Five: “Stand and Unfold Yourself” Revelation of Character in the Works of Shakespeare. PART TWO “What Means This, My Lord?” A Fourfold Approach to Interpretation Chapter Six: “To Sing a Song That Old Was Sung.” Plain Readings Chapter Seven: “You Speak a Language I Know Not.” Allegorical Readings Chapter Eight: “A Natural Perspective That is and is Not.” Analogical Readings Chapter Nine: “Is Not This Strange” Abstract Readings PART THREE “Come, Give Us A Taste of your Quality.” Practical Matters Chapter Ten: “What Say You?” Finding the Rhyme between Shakespeare, Yourself, and Your Time Chapter Eleven: “The Fall of a Sparrow.” Shaping Shakespeare Chapter Twelve. “Brave New Worlds.” Designing Shakespeare Chapter Thirteen: “The World Must be Peopled.” Auditions Chapter Fourteen: “Resolve You For More Amazement.” The First Day of Rehearsal Chapter Fifteen: “For Here I Hope Begins Our Lasting Joy.” A Word About Shakespeare’s Endings Index

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Book SynopsisIn the 21st century, actors face radical changes in plays and performance styles, as they move from stage to screen and grapple with new technologies that present their art to ever-expanding audiences. Active Analysis offers the flexibility of mind, body, and spirit now urgently needed in acting. Dynamic Acting through Active Analysis brings to light this timely legacy, born during the worst era of Soviet repression and hidden for decades from public view. Part I unfolds like a mystery novel through letters, memoirs, and transcripts of Konstantin Stanislavsky's last classes. Far from the authoritarian director of his youth, he reveals himself as a generous mentor, who empowers actors with a brand new collaborative approach to rehearsals. His assistant, Maria Knebel, first bears witness to his forward-looking ideas and then builds the bridge to new plays in new styles through her directing and influential teaching. Part II follows a 21st century company of diverse actors as thTrade ReviewSharon Marie Carnicke eloquently tells the story of Stanislavsky’s monumental later, yet lesser-known, innovations in the art of acting. She then traces the journey of his protégé Knebel, who, almost singlehandedly, harbored and developed this work through the great restrictions of the late-Soviet world. With great compassion, Carnicke imagines what they might have undergone during what were perhaps their darkest hours, with Stanislavsky under house arrest and Knebel struggling to preserve and persevere. Carnicke then insightfully shares these innovations with her own students and thereby with the reader of this book. In our current moment as we transition to more collaborative environments, Active Analysis will prove to be a boon for rising theatre artists. * Anne Bogart, Founder and Co-Artistic Director of SITI Company, Professor of Theatre, Columbia University *Carnicke gives Stanislavsky a humanity that does not exist in other texts, and gives her readers practical access to concepts that are often mired in academic and theoretical verbiage. Through rehearsals of Shakespeare, Chekhov, and a previously unproduced play, Carnicke presents Active Analysis as a usable methodology for any actor or director. A true gift! * Milton Justice , Academy Award and Emmy Award Winning Producer, Director, and Acting Teacher, Author and Podcaster of I Don’t Need an Acting Class *With intelligence, wit, compassion and respect for the traditions of theatre, Carnicke guides us to an understanding of Active Analysis and its continuing vitality in our ever changing world. Her book is a testament to the resilience of the human spirit. * Mary Joan Negro, Actor, Director, Tony Award Nominee, and Acting Teacher, Founding Member of John Houseman’s the Acting Company *With consummate expertise, meticulous scholarship, and innovative actor training, Carnicke reveals in clear, practical terms how Active Analysis works and how to apply it. This book could not be more timely or relevant. * R. Andrew White, Professor of Theatre, Valparaiso University, Editor, The Routledge Companion to Stanislavsky *Carnicke combines history, acting technique, and practical theatre advice to present a fresh approach to acting and directing in any style of theatre or film. * Michael King, Director and Associate Professor of Acting and Performance, Northern Kentucky University, USA *Table of ContentsList of Illustrations About the Author Acknowledgements Note on Transliteration and Translation List of Abbreviations of Frequently Cited Sources Preface: To My Readers PART I: The People Behind the Legacy Chapter 1: The Mystery on Leontyevsky Lane Chapter 2: Behind Closed Doors Chapter 3: The Truth Will Out! PART II: Six Lessons in Active Analysis Lesson 1: The Dynamic Principles of Performance Lesson 2: Scene Study through Active Analysis—Shakespeare Lesson 3: Scene Study through Active Analysis—Chekhov Lesson 4: Rehearsing a Play through Active Analysis—Johnson Lesson 5: The System in Active Analysis Lesson 6: Working With Active Analysis in the Real World Appendix: The Lie (2020), a ten minute play by Joan Eyles Johnson Bibliography Index

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Book SynopsisShortlisted for the STR Theatre Book Prize 2023A LA Times Best Theater Book of 2022Harold Pinter and Tom Stoppard, by most accounts the leading British playwrights of our time, might seem to come from very different aesthetic, cultural and political worlds. But as Carey Perloff's fascinating new book reveals, the two have much in common. By examining these contemporaries alongside one another and in the context of the rehearsal room, we can glean new insights and connections, including the impact of their Jewish background on their work and their passion for the details of stagecraft. Readers of Pinter and Stoppard: A Director's View will emerge with a set of tools for approaching their work in a performance environment and for unlocking the mysteries of the plays for audiences.Esteemed theatre director Carey Perloff draws upon her first-hand experience of working with both writers, creating case studies of particular plays in production to provide new waysTrade ReviewAn invaluable book. * Los Angeles Times *Perloff is free to make the most of her experiences working closely with the playwrights ... with professional depth and a personal perspective that includes the occasional difficulties. * The Times Literary Supplement *Unpretentiously written and free of academic jargon, Pinter and Stoppard: A Director’s View is a valuable resource. * CHOICE *Carey Perloff’s account of her experience of working closely as a director with two of the greatest playwrights of our times makes a compelling and dramatic book, full of fascinating revelations and comparisons, sharp perceptions and warm humanity. * Dame Hermione Lee *Table of ContentsINTRODUCTION: The Case for a Shared View of the Work of Harold Pinter and Tom Stoppard CHAPTER ONE: The Jewish Connection CHAPTER TWO: The Launch: Pinter and Stoppard in Context CHAPTER THREE: Finding the Voice in Rehearsal CHAPTER FOUR: Excavating “Rules of Play” in Pinter’s The Birthday Party CHAPTER FIVE: “Wanting to Know” and the Rehearsal Process of Stoppard’s Indian Ink CHAPTER SIX: From 9/11 to the Recession: Pinter’s Terror and the Collapse of Certainty in Celebration, The Room and The Homecoming CHAPTER 7: Anatomizing Guilt: Stoppard’s Rock ‘n’ Roll, The Invention of Love and The Hard Problem CONCLUSION INDEX

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Book SynopsisGemma Kate Allred is a doctoral researcher at the Université de Neuchâtel, Switzerland.Benjamin Broadribb is a doctoral researcher at The Shakespeare Institute, University of Birmingham, UK.Erin Sullivan is Reader in Shakespeare at The Shakespeare Institute, University of Birmingham, UK.Trade ReviewA remarkably cathartic read. * Shakespeare Survey *Table of ContentsIntroduction: Cultural Cartography of The Digital Lockdown Landscape Gemma Kate Allred (Université de Neuchâtel, Switzerland) and Benjamin Broadribb (Shakespeare Institute, Stratford-upon-Avon, UK) Part One: Analyses 1. The Screen Language of Lockdown: Connection and Choice in Split-Screen Performance John Wyver (University of Westminster, London, UK) 2. Lockdown Shakespeare and the Metamodern Sensibility Benjamin Broadribb (Shakespeare Institute, Stratford-upon-Avon, UK) 3. Notions of Liveness in Lockdown Performance Gemma Kate Allred (Université de Neuchâtel, Switzerland) 4. Creation Theatre and Big Telly’s The Tempest: Digital Theatre and the Performing Audience Pascale Aebischer and Rachael Nicholas (University of Exeter, UK) 5. Immersion in a Time of Distraction: ‘The Under Presents: Tempest’ Erin Sullivan (Shakespeare Institute, Stratford-upon-Avon, UK) 6. What You Will in the Time of COVID-19: Exploring the Digital Arts, Race and Flexible Resistance David Sterling Brown (Trinity College, Connecticut, USA ) and Ben Crystal (The Shakespeare Ensemble, Global) Part Two: Case Studies 7. ‘Shakespeare for Everyone’ The Show Must Go Online in conversation with Gemma Kate Allred (Université de Neuchâtel, Switzerland) and Benjamin Broadribb (Shakespeare Institute, Stratford-upon-Avon, UK) 8. Ricardo II: una producción bilingüe de Merced Shakespearefest William Wolfgang (University of Warwick, UK) and Erin Sullivan (Shakespeare Institute, Stratford-upon-Avon, UK) 9. ‘Your play needs no excuse’ CtrlAltRepeat in conversation with Gemma Kate Allred (Université de Neuchâtel, Switzerland) and Benjamin Broadribb (Shakespeare Institute, Stratford-upon-Avon, UK) 10. ‘Are we all met?’: Responding to Shakespeare’s Canon through Online Community Performance Jennifer Moss Waghorn, Katrin Bauer, Sarah Hodgson, Diane Lowman, Kathryn Twigg and Martin Wiggins (Shakespeare Institute, Stratford-upon-Avon, UK) 11. ‘Present fears are less than horrible imaginings’ Big Telly Theatre Company in conversation with Gemma Kate Allred (Université de Neuchâtel, Switzerland) and Benjamin Broadribb (Shakespeare Institute, Stratford-upon-Avon, UK) 12. Teaching Shakespearean Performance in Lockdown Andrew James Hartley (University of North Carolina at Charlotte, USA), Sarah Hatchuel (Université Paul-Valéry, Montpellier, France) and Yu Umemiya (Waseda University, Tokyo, Japan) in conversation with Erin Sullivan (Shakespeare Institute, Stratford-upon-Avon, UK) Part Three: Lockdown Digital Arts: An Extended Year in Review Gemma Kate Allred (Université de Neuchâtel, Switzerland), Benjamin Broadribb and Erin Sullivan (Shakespeare Institute, Stratford-upon-Avon, UK) I. Spring II. Summer III. Autumn IV. Winter / Spring Conclusion: Shakespeare after Lockdown Erin Sullivan (Shakespeare Institute, Stratford-upon-Avon, UK) Notes Index

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Book SynopsisThe shortest runs can have the longest legacies: for too long, scholarship surrounding British musical theatre has coalesced around the biggest names, ignoring important works that have not had the critical engagement they deserve. Through academic interrogation and industry insight, this unique collection of essays recognizes these works, shining a light on their creative achievements and legacies. With each chapter focusing on a different significant musical, a selection of shows spanning 2010s are analysed and the development and evolution of the genre is explored. Touching on key, hit shows such as SIX, Matilda, Everybody''s Talking About Jamie, The Grinning Man and Bend it Like Beckham, each chapter discusses different theatrical elements, from dramaturgy and musicology to reception, and also includes an interview with a practitioner related to each musical, providing in-depth understanding and invaluable practical and industry knowledge. ITable of ContentsForeword – Kate Marlais Foreword – Tim Sutton List of Contributors List of Images Introduction Chapter 1 - Bros Abroad: Masculinities in Transition and Homosocial Bonding in Dougal Irvine’s Departure Lounge - Broderick Chow Dougal Irvine Interview Chapter 2 - ‘The Smell of Rebellion’ and ‘The Stench of Revolt’: The Carnivalesque Dramaturgy of Matilda the Musical from Page to Stage - Stephanie Lim Ellen Kane Interview Chapter 3 - ‘Glitching’ of gender and temporality in Lift – Jozey Grae Perfect Pitch Interview - Andy Barnes, Wendy Barnes Chapter 4 - Bend it Like Beckham: The Musical: Embodying British Identities - Kelsey Blair Preeya Kalidas Interview Chapter 5 - Flowers for Mrs Harris: Covid-19, Women’s Work, and the Musical’s ‘some kind of bliss’- Sarah K. Whitfield Rachel Wagstaff & Richard Taylor Interview Chapter 6 - ‘You’re him and he is you’: Identification with the Disabled ‘Freak’ in The Grinning Man - Ellen Armstrong Toby Olié Interview Chapter 7 - “Something Precious You Don’t Simply Give Away”: Intersections of Love and Queer Expression in Everybody’s Talking About Jamie - Hannah Marie Robbins Rob Hastie Interview Chapter 8 - ‘One of a kind, no category’: Coding Race, Gender, and Excess in SIX - Aviva Neff Josh Bird Interview Chapter 9 - My Left Right Foot: The Musical – Judith Drake Noisemaker Interview Chapter 10 - ‘As if Gathered in a Verbatim Fashion’: The (Mis)Use of Documentary Markers in Chris Bush and Matt Winkworth’s The Assassination of Katie Hopkins - Cyrielle Garson Lucy Osborne Interview Conclusion

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Book SynopsisEubanks Winkler and Schoch reveal how and why the first generation to stage Shakespeare after Shakespeare's lifetime changed absolutely everything. Founder of the Duke's Company, Sir William Davenant influenced how Shakespeare was performed in a profound and lasting way. This open access book provides the first performance-based account of Restoration Shakespeare, exploring the precursors to Davenant's approach to Restoration Shakespeare, the cultural context of Restoration theatre, the theatre spaces in which the Duke's Company performed, Davenant's adaptations of Shakespeare's plays, acting styles, and the lasting legacy of Davenant's approach to staging Shakespeare.The eBook editions of this work are available open access under a CC BY-NC-ND 4.0 licence on bloomsburycollections.com. Open access was funded by Queen''s University Belfast.Table of ContentsSeries Preface 1. Precursors 2. Cultural Milieu 3. New Spaces 4. Acting 5. Repertory 6. Case Studies 7. Davenant’s Legacy Notes Bibliography Index

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Book SynopsisAre you a theatre-maker looking for devising tools? A writer wanting to improve your dialogue? A director trying to create a story through improvisation? Three Plays by Squint & How They Were Made brings three of the company's plays together with the methods used to create them, in a practical, user-friendly toolkit. Three of Squint's plays - created by Lee Anderson, Adam Foster and Andrew Whyment - are published here for the first time. At the heart of each, a character is struggling to process their personal trauma under the intense glare of the public eye. Long Story Short (2014) dissects journalism in the digital age, Molly (2015) takes a reality television-style journey into the mind of a sociopath, and The Incredible True Story of the Johnstown Flood (2021) embarks on a transatlantic exploration of class, exploitation and appropriation.Developed over ten years through Squint's education programme, the exercises in this book distil the company's Trade ReviewSquint’s trio of fast-paced plays, combined with the activities used to create them, are an invaluable resource for directors, ensembles, devisers and playwrights alike * Emma Rice, Wise Children *You can’t help but feel nourished by Squint’s collective spirit and markedly more equipped to originate theatre * Holly Race Roughan, Artistic Director of Headlong *It’s fascinating to read this generous and detailed articulation of the tools and methods of Squint’s theatre making * Amit Lahav, Artistic Director of Gecko *An invaluable resource for theatre makers and educators * Anna Niland, Associate Director of the National Youth Theatre. *A punchy collection of swaggeringly smart plays coupled with a generous toolkit of inspirations for making new work * Dan Rebellato, Professor of Contemporary Theatre at Royal Holloway. *Table of ContentsSquint. Foreword. Introduction. Long Story Short. Molly. The Incredible True Story Of The Johnstown Flood. The Squint Toolkit Acknowledgements Bibliography

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Book SynopsisScottee's work is often about outsiderness; race, sexuality, class, age and gender, creating spaces where the perceived underdog is celebrated. In 2010 Scottee won the title of Time Out Performer of the Year and in 2015 he was included on Independent's Rainbow List as one of Britain's most influential LGBTQI+ people.

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Book SynopsisIn this volume leading scholars assess the contributions of Max Reinhardt, Leopold Jessner and Harley Granville Barker to European theatre. Their work represents the cultural shift from traditional theatre practices of the 19th century to the rise of Modernism and its means of establishing theatre as an art form in its own right. Uncovering the theories and visions of theatre held by Reinhardt, Jessner and Barker, this volume establishes the contribution and importance of these directors in the development of modern theatre and their significance alongside the better-known names of Stanislavski and Brecht.

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Book SynopsisThis volume offers a compelling account of Jean-Louis Barrault, Ariane Mnouchkine and Peter Stein, who not only won international recognition as directors whose repertoires ranged from classical Greek to Shakespeare to the avant-garde, but also succeeded as leaders of their own companies. The ensembles they nurtured and kept afloat despite setbacks represent the artistic vision of each: the Compagnie Madeleine RenaudJean-Louis Barrault, the Théâtre du Soleil and the Schaubühne. Selected landmark productions illuminate the achievements of these three directors and their companies.

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Book SynopsisColin Murphy writes plays about politics, and journalism. He is the author of a series of plays on Irish political history: Haughey/Gregory, on the 1982 Gregory Deal, Inside the GPO, on the Easter Rising, Guaranteed!, on the bank guarantee of 2008, and Bailed Out!, on the subsequent crisis and Troika bailout of 2010, all produced by Fishamble. He adapted the latter two for screen, as The Guarantee and The Bailout (both produced by John Kelleher Media). He adapted the Charlie Bird book A Day in May for the stage. His verbatim dramas, Jack Duggan's War and Judging Shaw (based on Fintan O'Toole's book of the same name) have been staged by ANU Productions. His short film Leave to Remain was made for RTÉ Storyland (produced by Treasure Entertainment). He writes a weekly column for the Sunday Business Post.

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Book Synopsis''A warm, funny, uplifting writer to celebrate!'' KATIE FFORDEIf you love Lucy Diamond, Phillipa Ashley, Sue Moorcroft and Holly Martin, you''ll LOVE Erin Green''s novels of love, life and laughter!''A lovely, heart-warming story . . . I was hooked!'' CHRISTINA COURTENAY''A delightful tale of friendship, family and love'' JENNI KEER''Thoroughly entertaining. The characters are warm and well drawn'' SUE ROBERTS''Another cracker of a book, this is so beautiful, and you want to go to Shetland to make friends with all of the characters . . . Go take a visit, and snuggle up with a hot chocolate and cake to read it'' ⭐ ⭐ ⭐ ⭐''This is a delightfully engaging and utterly entertaining festive read . . . will particularly appeal to those who love the likes of author Trisha Ashley'' ⭐ ⭐ ⭐ ⭐ ⭐''A beautifully written heartwarming and uplifting read'' ⭐ ⭐ ⭐

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Book SynopsisTrade ReviewI think this is a really interesting project. The play avoids the obvious and gives a good insight into a range of personal stories, covering detainees from the ANC, the PAC and Black Consciousness (but I think it would be necessary in the introductory essay to give a clear account of the differences and relationships between them, set against the time-line of resistance to apartheid). So it offers a quite varied, significant and 'new' perspective/window on the inmates of Robben Island. And the play does give striking insights into the different groups of prisoners and how they reacted to their situation, as well as into the often ludicrously boneheaded and bureaucratic, and equally often callous and crass, behaviour of the warders and prison system. Professor Ralph Yarrow, University of East Anglia This play deals with an important and engaging topic: the lives and survival strategies of the political prisoners on Robben Island during the apartheid era (with a short reflection on the later betrayal of the ideals that governed those lives). It contains a great deal of fascinating material, based on written accounts of the experiences of prisoners and on interviews conducted by Matthew Hahn with former prisoners. The plays' "hook" is the prisoners' choosing of passages from Shakespeare's Complete Works, surreptitiously passed around the prison. Professor Derek Attridge, University of Warwick

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Book SynopsisHow do you develop both the craft of directing as well as a professional career in freelance directing in today''s theatre industry? Drawing on his own extensive experience and that of other theatre professionals from the US and UK, Kent Thompson illuminates a pathway from training, apprenticeship and assistant directing to an established career as a director. Directing Professionally first lays out paths for aspirant directors to train, grow and succeed as directors, then advises freelance directors on how to establish and accelerate their professional careers. It also reveals the most significant ways those directors become artistic directors today. With a frank, thoughtful and often humorous examination of the job of professional direction and artistic direction, Thompson writes about the passion, commitment, artistic vision, directorial experience, leadership skills, and powerful persuasive gifts needed to succeed in this extraordinary field. Featuring case stuTrade ReviewKent Thompson’s Directing Professionally is the perfect blend of the real experience of directing in professional theatre and the process needed to direct in today’s theatre companies... Kent's optimistic and realistic book is an invaluable guide for every student of directing or emerging director. -- Jane Page, University of California, USATable of ContentsAbout the Author Acknowledgements Introduction PART I: Entering the Field Chapter 1. The Big Leap Chapter 2. Understanding the Business of Theatre PART II: Your First Professional Job Chapter 3. Interviewing for the Job Chapter 4. Director’s Work in Pre-Production Chapter 5. Rehearsals in the Studio Chapter 6. Moving into the Theatre through Final Dress Chapter 7. Previews through Opening PART III: Advancing Your Career Chapter 8. Finding Your Next Job(s) Chapter 9. Directing New Plays & Musicals Chapter 10. Nurturing Your Art & Yourself PART IV: Becoming an Artistic DirectorChapter 11. Leading a Theatre… or Not Chapter 12. Getting the Artistic Director Job Chapter 13. Preparing to Lead Conclusion Notes Further Reading

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Book SynopsisThis book presents a new reading of Pina Bausch's dance theatre, orienting it within an international legacy of performance practice.

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Book SynopsisThis book presents a new reading of Pina Bausch's dance theatre, orienting it within an international legacy of performance practice.

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Book SynopsisThe most frequently asked question about writing musicals is, Which comes first, the music or the lyrics? As anyone on Broadway will tell you, the answer is, The book. Tony-winning book writer Robert L. Freedman takes you through the process of writing a new musical, including story structure, song placement, dialogue, character development, and more that led to the creation of A Gentleman''s Guide to Love and Murder, the 2014 Best Musical Tony winner. With candor and insight, Freedman describes the challenging and rewarding growing pains of what the critics called Hilarious! and Ingenious! and said Ranks among the most inspired and entertaining new musical comedies I''ve seen in years.

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Book SynopsisWhat does a producer actually do? How does one travel from that great idea for a show to a smash hit opening night on Broadway? John Breglio cannot guarantee you a hit but he does take the reader on a fascinating journey behind-the-scenes to where he himself once stood as a child dreaming about the theatre.ÞPart memoir part handbook ÊI Wanna Be a ProducerÊ is a road map to the hows and wherefores the dos and don''ts of producing a Broadway play written by a Broadway veteran with more than 40 years of experience. This comprehensive and highly informative book features practical analysis and concepts for the producer ä and is filled with entertaining anecdotes from Breglio''s illustrious career as a leading theatrical lawyer and producer. Breglio recounts not only his first-hand knowledge of the crucial legal and business issues faced by a producer but also his experiences behind the scenes with literally hundreds of producers playwrights composers and directors including su

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Book SynopsisTheatre as Human Action is the ideal textbook to introduce students to the various aspects of theatre, especially for those who may have little or no theatergoing experience. Seven diverse plays are described to the reader from the start, and then returned to throughout the book so that students can better understand the concepts being discussed. Both the theoretical and practical aspects of theatre are explored, from the classical definition of theatre to today’s most avant-garde theatre activities. Types of plays, the elements of drama, and theatre criticism are presented, as well as detailed descriptions of the different jobs in theatre, such as actor, playwright, director, designer, producer, choreographer, and more. The book concludes with a look at where and how theatre is evolving in America and the latest changes and innovations today.This fourth edition has been greatly expanded and updated, including: The introduction of four new plays—Sweeney Todd: The Demon Barber of Fleet Street; Fences; Angels in America; and Hadestown—in addition to Macbeth, You Can’t Take It With You, and Hamilton A discussion of the rise of social media in raising awareness and replacing traditional review outlets An entirely new, enhanced section on diversity and inclusion in theatre An updated selection of playwrights featured, including Terrence McNally, Lynn Nottage, Tony Kushner, and Lin-Manuel Miranda, to better reflect the diversity of those writing for the theatre today. Featuring full-color photographs, updated learning guides, and suggested topics for discussion and research, the fourth edition of Theatre as Human Action is an invaluable resource to introduce students to the world of theatre.

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Book SynopsisTheatre as Human Action is the ideal textbook to introduce students to the various aspects of theatre, especially for those who may have little or no theatergoing experience. Seven diverse plays are described to the reader from the start, and then returned to throughout the book so that students can better understand the concepts being discussed. Both the theoretical and practical aspects of theatre are explored, from the classical definition of theatre to today’s most avant-garde theatre activities. Types of plays, the elements of drama, and theatre criticism are presented, as well as detailed descriptions of the different jobs in theatre, such as actor, playwright, director, designer, producer, choreographer, and more. The book concludes with a look at where and how theatre is evolving in America and the latest changes and innovations today.This fourth edition has been greatly expanded and updated, including: The introduction of four new plays—Sweeney Todd: The Demon Barber of Fleet Street; Fences; Angels in America; and Hadestown—in addition to Macbeth, You Can’t Take It With You, and Hamilton A discussion of the rise of social media in raising awareness and replacing traditional review outlets An entirely new, enhanced section on diversity and inclusion in theatre An updated selection of playwrights featured, including Terrence McNally, Lynn Nottage, Tony Kushner, and Lin-Manuel Miranda, to better reflect the diversity of those writing for the theatre today. Featuring full-color photographs, updated learning guides, and suggested topics for discussion and research, the fourth edition of Theatre as Human Action is an invaluable resource to introduce students to the world of theatre.

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Book Synopsis

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Book Synopsis

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Book SynopsisIn Two Minds is the first comprehensive biography of Jonathan Miller – the story of one of post-war Britain’s most intriguing polymaths. Descended from immigrants who fled Tsarist anti-Semitism to become shopkeepers in Ireland and London’s East End, Miller was born into an intellectual milieu, between Bloomsbury and Harley Street – the son of a novelist and a leading child psychiatrist. Miller trained as adoctor but then forged a career as a stellar comedian and as a world-renowned theatre and opera director. He is a controversial humorist, public intellectual and TV personality. As a star in the groundbreaking satirical revue Beyond the Fringe, he shot to fame alongside Peter Cook, Dudley Moore and Alan Bennett. His expertise and interests encompass many areas, from medicine (he wrote and presented the hugely acclaimed BBC documentary series The Body in Question) to the history of art, Mozart, atheism and the nature of laughter. Jonathan Miller is one of the most multi-talented Britons of his generation, celebrated for his dazzling intelligence and anti-establishmentarian wit. Drawing on in-depth interviews, this is an entertaining and illuminating portrait of a fascinatingly complex man.Trade ReviewA remarkable portrait of a complex and Coleridgean figure, a man in two minds about himself for most of his life * The Telegraph *Bassett is herself a fine, fierce theatre critic – her write-ups of Miller's productions have verve and perceptive grace… thorough… entertaining * Guardian *‘An admirably thorough job of a biography: sympathetic, deeply researched, informed by long conversations with Miller and dozens of friends, colleagues and, occasionally, enemies.’ * The Spectator *‘Kate Bassett’s fascinating book draws together the many strands that combine to make this renaissance man.’ * Jewish Chronicle *‘Sir Jonathan Miller is a remarkable man. As one of the great egocentrics of his generation, he would not question this judgment... Ms Bassett’s first-class biography does not mask Sir Jonathan’s weaknesses, but she says that, “in conversation, his flaws seem more tragicomic than intolerable—the bile and bitterness never quite obliterate the man’s warmth.”’ * The Economist *‘Absorbing, in-depth and erudite… Bassett, who clearly likes and respects her subject but isn't overawed by him, sensibly marshals the arguments on both sides and leaves it up to the reader how posterity will regard Miller.’ * Observer *‘Miller’s bravura is exemplary and life-enhancing, so it is sad to learn from Kate Bassett’s magnificent biography (brilliantly researched – even the extensive endnotes are a joy) that the man himself somehow feels hard-done-by, unappreciated and under-rewarded.' * Financial Times *‘Bassett’s beautifully balanced account… describes how caring [Miller] can be to friends, and how he can enthuse them with his dazzling cross-disciplinary ideas. His secret of survival? For every bridge he burns, he’s somehow able to build another. He’s inexhaustible, and unceasingly curious. Bassett treats her subject with respect, and, thankfully, without kid gloves… fascinating’ * Bloomberg *‘There is no more extraordinary figure in British public life than Jonathan Miller… His achievement is undeniable, as In Two Minds makes clear, and though his workaholic days are behind him, he reveals no signs of retirement.’ * Wall Street Journal *A remarkable portrait of a complex and Coleridgean figure, a man in two minds about himself for most of his life. * Five stars - Telegraph *Scrupulously researched, always fascinating... As Bassett says in her admirably measured book, there's 'bile and bitterness' here. As she demonstrates, there's also genius. * London Times *Bassett is herself a fine, fierce theatre critic - her write-ups of Miller's productions have verve and perceptive grace... thorough... entertaining. * Guardian *An admirably thorough job of a biography: sympathetic, deeply researched, informed by long conversations with Miller and dozens of friends, colleagues and, occasionally, enemies. * Spectator *Kate Bassett's fascinating book draws together the many strands that combine to make this renaissance man. * Jewish Chronicle *Sir Jonathan Miller is a remarkable man. As one of the great egocentrics of his generation, he would not question this judgment... Ms Bassett's first-class biography does not mask Sir Jonathan's weaknesses, but she says that, "in conversation, his flaws seem more tragicomic than intolerable--the bile and bitterness never quite obliterate the man's warmth. * Economist *Absorbing, in-depth and erudite... Bassett, who clearly likes and respects her subject but isn't overawed by him, sensibly marshals the arguments on both sides and leaves it up to the reader how posterity will regard Miller. * Observer *Kate Bassett's brilliant, exhaustively researched biography... reminds us what a truly astonishing man he is. Just try to imagine post-war British culture without him. * Jewish Chronicle *Compelling.. a dense, exhaustively well-researched portrait... a persuasive, ultimately rather sad portrait of a North London Jewish boy. * Sunday Times *‘Jonathan Miller…prodigiously multi-talented: mimic, comic actor, opera director, television-talker, scientist – he has excelled in all those spheres… This absolutely brilliant biography…shows us that Miller is still the brilliant schoolboy, fascinated by dissecting animals and reading philosophy, still with an adolescent sense of mischief and the adolescent sense of grievance.’ -- A.N. Wilson‘Bassett’s beautifully balanced account…describes how caring [Miller] can be to friends, and how he can enthuse them with his dazzling cross-disciplinary ideas. His secret of survival? For every bridge he burns, he’s somehow able to build another. He’s inexhaustible, and unceasingly curious. Bassett treats her subject with respect, and, thankfully, without kid gloves…fascinating.’ * Bloomberg *‘Showing tremendous understanding of the poisoned chalice that his Janus-faced intellect has been… A remarkable portrait of a complex and Coleridgean figure, a man in two minds about himself for most of his life.’ * Telegraph *‘Absorbing, in-depth and erudite…Bassett’s book…produce[s] an appealingly multifaceted figure of a man whose polymathic genius has never been in doubt, but whose refusal to toe the British line of self-deprecation has seen him become something of a prophet without honour at home.’ * Observer *‘Sympathetic, deeply researched, informed by long conversations with Miller and dozens of friends, colleagues and, occasionally, enemies.’ * The Spectator *‘Bassett is herself a fine, fierce theatre critic – her write-ups of Miller’s productions have verve and perceptive grace…entertaining.’ * Guardian *‘Miller’s bravura is exemplary and life-enhancing…Kate Bassett’s magnificent biography [is] brilliantly researched – even the extensive endnotes are a joy.’ * Financial Times *Scrupulously researched, always fascinating… As Bassett says in her admirably measured book, there’s ‘bile and bitterness’ here. As she demonstrates, there’s also genius * The Times *Compelling.. a dense, exhaustively well-researched portrait... a persuasive, ultimately rather sad portrait of a North London Jewish boy * Sunday Times *

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Book SynopsisA collection of theatrical misfits goes on tour across the Atlantic in this nostalgic post-war novel sure to delight fans of P. G. Wodehouse

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Book SynopsisRise above!: Letters from Tyrone Guthrie details the life of the celebrated theatrical director whose influence on international theatre lives on. Here, in a stunning volume of letters, we are offered a glimpse into the vision of this extraordinary figure as well as a view of the intimacies of his relationships with his mother, sister, wife and friends. During the 1940s and 1950s Guthrie was renowned for liberating the plays of Shakespeare from declamatory delivery and excessive staging. His most enduring legacy was in inspiring the creation of modern theatre buildings where the plays of antiquity could be brought closer to the audience, such as at Stratford, Canada, and the theatre that bears his name in Minneapolis, USA. Of Scots-Irish parentage, he identified most closely with his mother’s home at Annaghmakerrig, Co. Monaghan, which he made his professional headquarters after her death, hosting producers, designers, playwrights and composers there while planning worldwide productions. Guthrie’s letters to his mother, Norah, his wife, Judith, and his sister, Peggy, give a balanced account of his professional and domestic life, and it was on the advice of his sister and her husband, Hubert Butler, that he left his mother’s house to the Irish nation as a workplace for writers and artists. Faced with often seemingly insurmountable financial and personal disaster, his celebrated mantra ‘Rise above!’ was testament to a life lived in the wings of an operatic opening night or a Shakespearean tragedy. Guthrie’s vivid descriptions of places visited are matched by the observational skills of his remarks on the people he worked with, among them well-known figures such as Benjamin Britten, Alec Guinness, Charles Laughton, Siobhán McKenna, Micheál MacLíammóir, the Oliviers and others. Family members come in for as many amused comments as do the famous and distinguished: Cousin Molly is no more spared than Sir Winston Churchill. Fitz-Simon has gathered an important, and entrancing, collection of Tyrone Guthrie’s letters, raising a curtain on the life of Ireland’s leading theatre director of the twentieth-centuryTrade ReviewAn admirable collection. -- Fintan O'Toole * The Irish Times *Fitz-Simon has gathered an important, and entrancing, collection of TyroneGuthrie’s letters, raising a curtain on the life of Ireland’s leading theatre director of thetwentieth-century. * Writing.ie *

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Book SynopsisA unique guide to every aspect of putting on your own solo show: choosing the subject, raising the finance, booking the venue - and performing it! More and more actors – faced with ever longer periods of unemployment – are turning to the solo show as a way of keeping active, keeping visible, and keeping the wolf from the door! This book is essential reading for anyone contemplating such a move, and comprehensively covers every aspect of putting on your own one-person show. Being a veteran of the solo-show circuit, as a writer, performer and director, Gareth Armstrong is the ideal guide. He takes you step by step through each stage of the process: • Choosing the right material – or devising your own • Raising the finance • Finding the venues • Hiring a bookings manager and other personnel • Arranging publicity • Winning an audience There is a special section on that mecca for solo shows, the Edinburgh Fringe, and an extensive appendix covering funding bodies, venues, festivals and more. Throughout the book, Armstrong illustrates his points with case studies of actual solo shows by performers such as Miriam Margolyes, Linda Marlowe and Guy Masterson. 'So You Want To Do A Solo Show? is a thorough, meticulous, hands-on, "how-to-do" manual, covering everything from the germination of an idea right through to the costing of the flyers. It is, I think, the most valuable read for any performer who has ever thought "If only I could have some control over the way my career is going"' Maureen Lipman, from her ForewordTrade Review'This book does exactly what it says on the front cover... Armstrong specialises in clear explanations and common sense... it may prevent many nervous breakdowns' * British Theatre Guide *'Eminently readable and very useful... a fantastic resource' * Teaching Drama *'A timely and essential companion' * The Stage *

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Book SynopsisPacked with insights from a lifetime of directing theatre, Words into Action is a fascinating read and a vital masterclass for actors and directors. Renowned theatre director William Gaskill was one of the founders of the Royal Court, whose ethos, as Christopher Hampton says in his Foreword, 'this book goes a long way towards defining'. Gaskill's acclaimed work as a director always began with the words of the playwright, and here, starting with a chapter on 'Trusting the Writer', he takes the actor through the vital steps needed to find the life of the play and then to articulate it on stage. Drawing instances from his own work in the theatre and from teaching at the Royal Academy of Dramatic Art, he looks at action and intention, stillness and movement, sentences and rhetoric, punctuation and pauses. He pays detailed attention to staging Shakespeare's plays, and there are also chapters on masks, on language as character, and on verse and prose. Gaskill was, says Maggie Smith, ‘the best teacher in the world.'Trade Review'If you want to know what a director - a good theatre director, that is - actually does, read William Gaskill's marvellous new book, Words into Action... Gaskill is a great director, and a great teacher... Essential stuff' * Whatsonstage.com *'relays profound wisdom and very specific, useful tips from a career of directing... the book provides unique and thorough insight into many specifics of Gaskill's career' -- Ann M. Shanahan * 'Theatre Artists Writing About Practice: A Review Essay', 2011 *'a fount of wisdom that should prove invaluable to any reader' * British Theatre Guide *'a fastidiously lucid and frank set of essays packed with practical advice, useful observations, and acute close readings' -- Helen Simpson * TLS, 'Books of the Year' *

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Book SynopsisJessica Swale's Blue Stockings is the empowering and surprising story of four young women fighting for their right to a university education in a world that assumed women belonged at home. First produced professionally at Shakespeare's Globe in 2013, and a sell-out success, it is now regularly performed by theatre groups in the UK and beyond, and widely studied by GCSE Drama students. This Page to Stage guide, written by the playwright, who also directed the first production at RADA, along with her assistant director Lois Jeary, is packed with contextual information, scene-by-scene and character breakdowns, and personal insights into the world of the play and the real lives that inspired it. An invaluable resource for those studying and staging the play, it takes you through the entire production process, considering each of the elements in turn, from sound and music to design and rehearsals. You'll also find notes from the original rehearsal process, extracts from working diaries, and interviews with key members of the creative team. Throughout, there are hints and tips on staging, and helpful games and exercises to bring the play to life on the stage and in the classroom. Highly accessible and uniquely authoritative, it is the indispensible guide for anyone studying, teaching or performing the play.Trade Review'Extremely helpful… offers great detail, whilst also offering space to explore and be creative… this is a book that many will pick up and use as an exemplar of how to prepare any play, not just Blue Stockings' * Drama Magazine *'Very accessible… the suggested games and exercises are excellent… you certainly need this book if you're teaching and / or directing Blue Stockings. There's also plenty here for the students themselves to read and reflect on' * Ink Pellet *'For anyone working on or studying the play, this book is invaluable' * Word Matters - Journal of the Society of Teachers of Speech and Drama *

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Book SynopsisThis comprehensive, hands-on guide to making theatre – perfect for any school, college, youth group or amateur-theatre company – gives you the knowledge you need to take your productions to the next level. Curtain Up! is packed with invaluable advice and practical tips on every aspect of putting on your show, including: Direction: from choosing your project to casting, rehearsals and opening night Vocal Direction: give your singers and actors the confidence to deliver great performances Choreography: step-by-step advice on bringing your choreography to life Production Design: use set, costumes and more to realise your vision innovatively (and come in on budget) Puppets & Props: inject some practical magic into your production – and how to make your own puppets Scriptwriting: beat the blank page and pen your own original show Lighting Design: maximise your resources to create a whole world on stage Publicity: identify your audience, reach them and get those bums on seats Each section is written by an experienced theatre professional, laying out the essentials of every role and offering creative, practical ideas to breathe new life into your own theatre projects. Also included is a section on planning, with tips and worksheets to assist with everything from budgeting to selecting your production team. Wherever and however you make theatre, this inspiring, empowering and highly accessible manual will help make your next production your best yet!Trade Review'An extremely useful starting point for anyone wanting to put on a school or amateur theatre production... Lots of really useful ideas for where to begin when putting on a show but also contains a variety of useful tips for use in the classroom' * Drama & Theatre Magazine *

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