Theatre studies Books

Book SynopsisFor entrepreneurs in the creative fields, decision making is both a necessity and an art. Applying creativity to strategic decisions requires skills developed over time. This textbook provides arts entrepreneurship students a series of case studies centering on decision-making models applicable to launching and sustaining arts businesses.Each case set in the book focuses on a particular arts entrepreneur within the context of a range of creative businesses, from performance to videography. To facilitate classroom adoption, the authors provide expert guidance on getting the most from case-study-based learning. Additional features include insights into the key decision-making models in each case, analysis by a leader in the arts entrepreneurship education field on the factors forcing a decision and a broad view on the arts ecologies surrounding each example.Suitable for students in arts management programs as well, this book introduces readers to case-based learning via

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Book SynopsisThis book uses letter writing as a form of engaging autoethnography to address relational histories and dynamics such as race, gender, loss, memory and resolution.It is structured around textual performances, poems, and dialogues in the form of letters. Set within the context of adult Black children and their Black mothers, each author uses their letters to reflect on life with and without mama, and their own sense of coming to know themselves in the absence of their mother. Each entry evidence encounters of pain, possibility, and potentiality collated between the authors for a robust thematic underpinning for the reader. Building upon poetic inquiry and autoethnography narratives, this book seeks to build arguments about privatized struggle, and offers a guide on reflection.In addition to students and researchers partaking in autoethnographical studies, this book is suitable for anyone studying qualitative inquiry, performance studies, gender studies, cultural studies

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Book SynopsisFor this updated critical edition of King Lear, Lois Potter has written a completely new introduction, taking account of recent productions and reinterpretations of the play, with particular emphasis on its afterlife in global performance and adaptation. The edition retains the Textual Analysis of the previous editor, Jay L. Halio, shortened and with a new preface by Brian Gibbons. Professor Halio, accepting that we have two versions of equal authority, the one derived from Shakespeare''s rough drafts, the other from a manuscript used in the playhouses during the seventeenth century, chooses the Folio as the text for this edition. He explains the differences between the two versions and alerts the reader to the rival claims of the quarto by means of a sampling of parallel passages in the Introduction and by an appendix which contains annotated passages unique to the quarto.Trade Review'Only Lois Potter is capable of writing an introduction like this: she combines her vast experience of performance history with her unparalleled ability to read plays dramaturgically. As a result the introduction is as penetratingly astute on theme and structure as it is stimulating and eye-opening about theatre. No mere performance history, the introduction uses moments from production choices across the centuries to illustrate precise critical points, from the play's tragic crises to its general tone, from individual character to political atmosphere. Using her encyclopaedic knowledge of drama in performance, Lois Potter provides a brilliant hands-on guide to the play and an effortless introduction to theatre history.' Professor Laurie Maguire, University of Oxford'Lois Potter combines her unparalleled knowledge of Shakespeare in theatrical performance and her scrupulously scholarly attention to detail in the NCS King Lear. Her new introduction provides up-to-the-minute accounts of the play in performance while also offering a clear historical perspective. Potter describes the way productions of King Lear have changed over the course of the centuries and especially how current efforts to create more diverse theatrical casts have valuably added further dimension to the key issues of the play. Invaluably too, she provides an account of recent developments both critical, imaginative, and political, including eco-criticism and feminist criticism, re-writings of Shakespeare, as well as Lear in the global context. This is a must-read for anyone interested in the play.' Dympna C. Callaghan, University Professor and William L. Safire Professor in Modern Letters, Syracuse University'The updated New Cambridge critical edition of The Tragedy of King Lear provides a sensitive analysis of the afterlife of the play in a brand-new Introduction written by Lois Potter. There is … plenty in this Introduction to inspire new work on Lear … Potter's Introduction brings the edition and the play into the twenty-first century, and Gibbons' preface to Halio's 'Textual Analysis' helps to translate an edition ideal for graduate students and scholars of the play into an edition that will also appeal to readers approaching textual criticism for the first time.' Emma Depledge, Shakespeare SurveyTable of ContentsIntroduction; Textual Analysis; Preface by Brian Gibbons; Textual Analysis, Part 1; A Note on the Text; List of Characters; The Play; Textual Analysis, Part 2; Appendix: Passages Unique to the First Quarto; Reading List.

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Book SynopsisHow many hit musicals are based on films that were shot in two days at a budget of $30,000? The answer is one: Little Shop of Horrors. Roger Corman''s monster movie opened in 1960, played the midnight circuit, and then disappeared from view. Two decades later, Little Shop of Horrors opened Off-Broadway and became a surprise success. Attack of the Monster Musical: A Cultural History of Little Shop of Horrors chronicles this unlikely phenomenon. The Faustian tale of Seymour and his man-eating plant transcended its humble origins to become a global phenomenon, launching a popular film adaptation and productions all around the world. This timely and authoritative book looks at the creation of the musical and its place in the contemporary musical theatre canon. Examining its afterlives and wider cultural context, the book asks the question why this unlikely combination of blood, annihilation, and catchy tunes has resonated with audiences from the 1980s to the present. ATrade ReviewMeticulously researched … really gets to the heart of what made this production tick. * Broadway World UK *Adam Abraham writes in breathtaking detail about the making of Little Shop of Horrors, the enduring and beloved musical that launched the careers of Howard Ashman and Alan Menken – two immortals who lit up the skies. * Albert Poland, Author of STAGES – A Theater Memoir *It's a must-read for any fan of musical theater, horror, or horticulture. * Town & Country *Insightful, detailed, and just a purely fantastic read. * Everything Theatre *"Full of wonderful details, little-known facts, and great storytelling, this is the amazing history of the little film that became the musical that ate the world! It brought back so many memories of the show that changed my life." * Lee Wilkof, star of the original cast of Little Shop of Horrors *Table of Contents1 Skid Row: From Roger Corman’s Hollywood to Off-Off-Broadway 2 Adaptation: How to Make a Nightmare Sing 3 Opening the Shop: Designers, Auditions, Rehearsals 4 A Monster Hit: The Off-Broadway Production 5 It Conquered the World: New York to London and Beyond 6 Audrey III: Cinematic Dreams and Disillusionment 7 We’ll Have Tomorrow: The Curious Afterlives of a Man-Eating Musical

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Book SynopsisShortlisted for the STR Theatre Book Prize 2023A manifesto for the future of playwriting, this book challenges you to be a part of that future in the belief that it is fundamentally important to write plays. Plays help us understand ourselves, others, and the world around us. Reading this book, you will be challenged to learn your craft, explode what you know, prioritise what is important to you, and write in the way that only you can write.Most books on playwriting explain how to create a believable character in a story driven by plot. This book, however, goes even further in its exploration of the playwright's most valuable tool: theatricality. By learning from the past, and the present, the playwrights of tomorrow can create new, vivid, theatrical drama for the future.This manifesto also examines the process of writing, the art of collaboration, and the impact of writing on a playwright's mental health. It identifies the highs and lows, as well as the trials and tribulations,Table of ContentsAcknowledgements Preface by Jenny Sealey, MBE Prologue PART ONE 1.1 Write Plays 1.2 Write What is Important to You 1.3 Write like Only You can Write 1.4 Stand on the Shoulders of Giants PART TWO 2.1 It isn’t Natural(ism) 2.2 Tear Down the Fourth Wall 2.3 Dramatic Structure is not a Scientific Law 2.4 You do Not Need to Know Everything About your Characters 2.5 You are a Dramatic Poet 2.6 Get Musical 2.7 Get Physical 2.8 Think Big 2.9 Shock, Break and Provoke 2.10 Write a Postdramatic Play 2.11 Write Accessibly PART THREE 3.1 How to Write 3.2 Theatre is Collaboration 3.3 Take the business of Being a Playwright Seriously 3.4 Look After your Mental Health 3.5 You are the Future of Playwriting Epilogue Reasons to be a Playwright Notes 253 Bibliography

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Book SynopsisSteve Waters examines how the very idea of film has defined him as a playwright and a person in this book. Through the the lens of cinema, it provides a cultural and political snapshot of life in Britain from the 2nd part of the 20th century up to the present day. The films spanning almost a century, starting with The White Hell of Pitz Palu (1929) and moving most recently to Dark Waters (2019), each chapter examines aspects of Waters''s journey from his working-class Midlands upbringing to working in professional theatre to living through the Covid epidemic, through the prism of a particular film. From The Wizard of Oz to Code Unknown, from sci-fi to documentary, from queer cinema to world cinema, this honest, comic book offers a view of film as a way of thinking about how we live. In doing so, it illuminates culture and politics in the UK over half a century and provides an intimate insight into drama and writing.Trade ReviewPlaywright Steve Waters has come up with a brilliantly simple and original idea: a memoir built round the movies that have shaped his life. The result is partly autobiography, partly social history and partly a hymn of praise to the medium that made him. A jewel of a book: informative, moving, witty and compelling. -- David EdgarTable of ContentsIntroduction – Dark Waters (2019, Todd Haynes) Watching film in an age of Covid The Wizard of Oz (1939, Victor Fleming) Working-class cinema-going in the Midlands; children and adult film; the Western; film as an embodiment of maleness Logan’s Run (1976, Michael Anderson) Rural England and the appeal of horror and sci-fi; rural v city; class conflict Nosferatu The Vampyre (1979, Werner Herzog) Grammar school in the 80s; uncinematic nature of provincial Britain; discovery of art and European film Solaris (1972, Andrei Tarkovsky) Coming of age during Thatcher and punk; film and cycling; the rise of Channel 4 as a vector for film; second cold war; Solaris v Apocalypse Now Shoah (1985, Claude Lanzmann) Kibbutz Dalia, Israel; Film and internationalism; film and the Holocaust; travels in the Middle East; confirmation bias Vagabond (1985, Agnès Varda) Film and intellectualism at Oxford University; feminist and queer film; making film Comrades (1986, Bill Douglas) Film, work and radical politics; Communist and the city of Bristol; theatre and radical film-making; John Akomfrah and Julian Isaac The White Hell of Pitz Palu (1929, Arnold Fanck and GW Pabst) Becoming a teacher; film history and education; falling in love through film Reservoir Dogs (1992, Quentin Tarantino) Studying with playwrights Sarah Kane and David Edgar; Reservoir Dogs and Blasted; caught between film and theatre; influence of David Mamet, Quentin Tarantino and Sarah Kane Winter Light (1963, Ingmar Bergman) Film, marriage and faith; Bergman and Bresson; film as ritual; becoming a theatre director; becoming a playwright Code Unknown (2001, Michael Haneke) Film and London; residential playwright at Hampstead Theatre; writing and multi-culturalism; Haneke's pessimism versus 'Cool Britannia' The Wind Will Carry Us (2000, Abbas Kiarostami) After 9/11; film and the War on Terror; film and having children; writing World music; influence of Iranian film An Inconvenient Truth (2006, Davis Guggenheim) Film and ecology; climate change activism and writing The Contingency Plan; adapting theatre to film Hell or High Water (2016, David Mackenzie) Film and precarity; parents' death; illness; end of cinema; growth of populism Afterword - Girlhood (2019, Céline Sciamma) Watching films with my daughter Index

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Book SynopsisHip-Hop culture's explosive arrival on the art scene of New York in the boroughs of Queens and the Bronx in the 1970s began to influence all aspects of musical theater from singing to scenic design. Hip-Hop in Musical Theatre takes an intersectional standpoint to explore Hip-Hop's influence on musical theater practice and aesthetics by giving the reader a comprehensive map of musical theater productions that have been impacted by Hip-Hop music and culture. Offering insightful briefs on musical theater productions that contain aesthetic, musical and embodied references to the global phenomenon of Hip-hop culture, this volume takes the reader through a virtual tour of Hip-Hop's influence on American musical theater. From early traces of hip-hop's rap scene in the 1970s that appeared in musicals such as Micki Grant's Tony Award nominated Don't Bother Me I Can't Cope (1971) and Broadway smash hits such as The Wiz (1974) to international juggernauts such as Lin-Manuel Trade ReviewPacked with information. * Ink Pellet *Table of ContentsIntroduction Track 1- The Precursors to Hip-Hop: 1970s Track 2- Rocksteady: Old School Hip-Hop-1980s to 1990s Track 3- 1990s 2000’s- It’s the New School: Authenticity Debates and Cross-Over Hits Track 4- Will the ‘Real’ Hip-Hop Please Stand up 2000s- 2020s? Track 5- I Am Hip-Hop Track 6- Liner Notes, Conclusion.

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Book SynopsisAlys Daroy is Academic Chair of Theatre and Creative Production at Murdoch University, Australia. Her books include Shakespeare, Ecology and Adaptation: A Practical Guide (The Arden Shakespeare, 2025) and Feeding the Harbour City: Agriculture, Planning, Sustainability. Alys is also a classical actor and the founder of eco-theatre company Shakespeare South.Paul Prescott is a dramaturg, adapter and performance historian of Shakespeare, and a Teaching Fellow in the Institute for Advanced Teaching and Learning, the University of Warwick, UK. He has published A Year of Shakespeare, Shakespeare on the Global Stage, Othello: Arden Performance Edition and Shakespeare on European Festival Stages with The Arden Shakespeare, and is also active in theatre production as the co-founder of the eco-festival 'Shakespeare in Yosemite'.

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Book SynopsisThis book is a brief history of the end of the world as seen through the eyes of theatre. Since its inception, theatre has staged the fall of empires, floods, doomsdays, shipwrecks, earthquakes, plagues, environmental degradations, warfare, nuclear annihilation, and the catastrophic effects of climate change. Using a wide range of plays alongside contemporary thinkers, this study helps guide and galvanize the reader in grappling with the climate crisis. Kulick divides this litany of theatrical cataclysms into four distinct historical phases: the Ancients, including Euripides and Bhasa, the legendary Sanskrit dramatist; the Age of Belief, with the anonymous authors of the medieval mystery cycles, Shakespeare, and Pushkin; the Moderns, with Ibsen, Chekhov, Brecht, Beckett, and Bond; and, finally, the way the world might end now, encompassing Caryl Churchill, Tony Kushner, and Anne Washburn. In tandem with the insights gleaned from these playwrights, the book draws upon the work Trade ReviewIt's odd to call a book about the apocalypse delightful. It's odd to encounter a book about plays, a work of literary and philosophical inquiry, that has the urgency and force of a political tract, that's unashamedly, and persuasively, a call to action. It's almost as odd to encounter a rigorous scholarly work of extraordinary erudition that's also grippingly, compellingly readable. Staging The End Of The World is all these things; I've never read anything like it. Jonathan Schell, Amitav Ghosh, Hannah Arendt, Asja Lacis, Arne Naess, Thich Nhat Hanh, Davids Benatar and Graeber, Kant and Levinas are just a few among the legions assembled by the author to engage with, expand upon and illuminate the works of a host of playwrights, from Aeschylus to Anne Washburn, for a deeply serious exploration of the most serious subject imaginable. These pages are often heartbreaking, frightening, disturbing, and they contain passages of dark despair, but they're suffused with generosity, clarity and a strange, original spirit of grief-stricken determination and joy. Brian Kulick, a great theater artist who's also a glorious thinker and writer, has written a book that's an important contribution to our understanding of how plays work on us and what they can tell us about ourselves and our overwhelming, imperiled world; and more than that, he's offered magnificent proof of the necessity of playfulness, even in the face of the direst circumstances, if we hope to discover paths forward and to create change. * Tony Kushner *Brian Kulick’s latest book is a marvel and a delight. Staging the End of the World uses theatre to examine humanity's most chilling fears and deepest hopes. Kulick’s brilliant mind refuses to accept traditional intellectual boundaries. This is a wonderful book about the theatre which is also a mesmerizing philosophical study and an urgent response to climate change. Kulick is the most incisive and widely learned mind in the American theatre, and he has written an indispensable book. * Oskar Eustis, Artistic Director, Public Theater, New York City, USA *A thought-provoking and timely analysis of theatre’s preoccupation with the end of the world and eco-catastrophe from antiquity to the present. * Chris Megson, Royal Holloway, University of London, UK *Table of ContentsAcknowledgements Introduction: On Transforming Our Social Imaginary PART ONE: THIS IS THE WAY THE WORLD ENDS IN ANCIENT TIMES 1. Lessons Amongst the Ruins; Or, What Survives and Why: How the Cultural Detritus of the Ancients Can Become a Kind of First Philosophy 2. Slouching Toward Kurukshetra: A Brief Look at the Mahabharatas of Bhasa, Bharati, and Brook 3. Diasporas Old and New: What Euripides' Children of Herakles Can Tell Us About the Coming Climate Wars and Resulting Refugee Crisis PART TWO: THIS IS THE WAY THE WORLD ENDS IN THE AGE OF FAITH 4. Noahs, Arks, and Floods: Why Medieval Mystery Plays Still Have Something to Say About Our Modern Day “End of Days” 5. Shipwrecks, Recursion, and the Necessity of Deep Ecology: Surviving Shakespeare’s The Tempest and the Breaking of Our Anthropocene Ways 6. On Earthquakes and Metaphors: Bouilly’s Disaster of Lisbon and the Fukushima Variation PART THREE: THIS IS THE WAY THE WORLD ENDS IN MODERN TIMES 7. Plague’s Threat to Our Immune and Belief Systems: A Look at Pushkin’s A Feast in the Time of Plague 8. A Canary in the Bourgeois Coal Mine, Part One: Pollution and Direct Critique in Ibsen’s An Enemy of the People 9. A Canary in the Bourgeois Coal Mine, Part Two: Denial and Indirect Critique in Chekhov’s The Cherry Orchard PART FOUR: THIS IS THE WAY THE WORLD ENDS NOW 10. Ethics During Dark Times: Brecht’s He Who Says Yes and He Who Says No 11. On the Other Side of the Apocalypse: The Broken Worlds of Beckett and Bond 12. Nostalgia for the Future: The Fraught Tomorrows of Rivera, Churchill, Washburn, and Kushner Coda: And in the End Notes Index

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Book SynopsisWinner of the STR Theatre Book Prize 2024Featuring contributions from over eighty original cast members, creatives, crew and audience members, Out For Blood pieces together the surprising, hilarious and often-moving inside story of Carrie The Musical to discover how this horror of a Broadway musical' lived, died and was subsequently resurrected as a mainstream success story.In 1988, following the success of its production of Les Misérables and in the wake of the commercial success of mega-musicals such as Cats, Phantom of the Opera and Chess, the Royal Shakespeare Company agreed to co-produce a musical based on Stephen King's Carrie, written by the team behind Fame. The result was one of Broadway''s most infamous disasters. Plagued by technical problems, on-stage chaos and a critical savaging, Carrie would soon become the by-word for musical theatre flops. But thanks to the efforts of a vocal army of fans and the impact of Trade ReviewIf a book could catapult you into a rehearsal room from your own home, then Out for Blood would have you watching in the front row … A real page-turner, just like the King original … Adams’s comprehensive text is both approachable and teeming with information. * Musicals Magazine *The Broadway production of CARRIE has long been the poster child of notorious flop Broadway musicals. In this fascinating tome author Chris Adams handily reveals the whole grizzly story of how a show that had the promise and pedigree to so much right went so terribly wrong. * Stephen Purdy, author of 'Flop Musicals of the Twenty-First Century' *A fascinating book about an extraordinary show I’m proud to have been part of. So many memories both good and bad…the story of Carrie lives on * Linzi Hateley, original Carrie on Stratford and Broadway *As someone who is in his third decade of Carrie obsession, I can say, without any hyperbole, that this is the book I’ve been waiting for my entire life. Chris’s writing is honest, surprising, insightful, heartbreaking, and heartfelt and Out For Blood provides us (finally!) with the definitive account of the creation and legacy of this infamously misunderstood musical. The book is a love-letter to misfit theater, the fearless artists who create it, and the passionate weirdos who care about it. There’s never been a theatre book like her. * Joe Iconis, composer, lyricist, and playwright *My bucket overfloweth - Chris Adams has created an un-put-downable deep dive into the creation, reception and subsequent re-evaluation of one of the most infamous Broadway legends of all time. * Christopher Oram, two-time Tony Award-winning designer *Table of ContentsPreface and Acknowledgements Images Cast of Characters Introduction: The Sound of Distant Thunder I: THE CREATION Chapter 1: Page to Stage Chapter 2: The Road to Rehearsals Chapter 3: Stratford: Doesn’t Anybody Ever Get It Right? Chapter 4: Broadway: They Will Laugh At You, They Will Break Your Heart II: THE SHOW Chapter 5: Act One: Bras, Cars and Unitards Chapter 6: Act Two: Shit! Look at all these Pigs! III: THE LEGACY Chapter 7: Are You a Friend of Carrie? Chapter 8: Cancelling the Curse: Reviving Carrie Chapter 9: Back from the Dead: Carrie’s Big Comeback Chapter 10: Epilogue: When Did Everyone Decide I’m the One Who’s the Flop? Bibliography and Notes Index

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Book SynopsisThis book situates the production of The Boy Friend and the Players' Theatre in the context of a post-war London and reads The Boy Friend, and Wilson''s later work, as exercises in contemporary camp. It argues for Wilson as a significant and transitional figure both for musical theatre and for modes of homosexuality in the context of the pre-Wolfenden 1950s.Sandy Wilson''s The Boy Friend is one of the most successful British musicals ever written. First produced at the Players'' Theatre Club in London in 1953 it transferred to the West End and Broadway, making a star out of Julie Andrews and gave Twiggy a leading role in Ken Russell''s 1971 film adaptation. Despite this success, little is known about Wilson, a gay writer working in Britain in the 1950s at a time when homosexuality was illegal.Drawing on original research assembled from the Wilson archives at the Harry Ransom Center, this is the first critical study of Wilson as a key figure of 1950s British theatreTable of ContentsAcknowledgements Chapter One: And this is My Friend Sandy . . . Chapter Two: Mapping Theatreland: Soho, the West End and Homosexual Law Reform Chapter Three: The Ivy League: Binkie Beaumont, Noël Coward and Ivor Novello Chapter Four: ‘Oh! The Fairies’: The Players’ Theatre Club Chapter Five: ‘That certain thing called The Boy Friend’: the 1953 production of The Boy Friend Chapter Six: ‘What Next?’ After The Boy Friend Chapter Seven: Queer Utopianism: Valmouth Chapter Eight: 'A walpurgisnacht of self-indulgence': The Ken Russell film of The Boy Friend, His Monkey Wife, The Clapham Wonder and Aladdin Conclusion Afterword

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Book SynopsisGhosts haunt the stages of world theatre, appearing in classical Greek drama through to the plays of 21st-century dramatists. Tracing the phenomenon across time and in different cultures, the chapters collected here examine their representation, dramatic function, and what they may tell us about the belief systems of their original audiences and the conditions of theatrical production. As illusions of illusions, they foreground many dramatic themes common to a wide variety of periods and cultures. Arranged chronologically, this collection examines how ghosts represent political change in Athenian culture in three plays by Aeschylus; their function in traditional Japanese drama; the staging of the supernatural in the dramatic liturgy of the early Middle Ages; ghosts within the dramatic works of Middleton, George Peele, and Christopher Marlowe, and the technologies employed in the 18th and 19th centuries to represent the supernatural on stage. Coverage of the dramatic

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Book SynopsisBalancing practical exercises and case studies, this book equips practitioners, students and academics with guidance for exploring the process of making theatre from personal stories. Inviting you to consider the ethical challenges and rewards of this specialized area of theatre making, this book contextualizes the authors' original approaches within the range of existing applied theatre practice. It draws on the authors' practice and research in prisons, with military veterans and families, older adults, people living with dementia, intergenerational community groups, and end-of-life care settings. Offering guiding principles for practitioners undertaking work in this field and sharing techniques and exercises to help develop your style and approach, it also features handy hints and pitfalls to consider while working with someone's most precious commodity: their life story. Featuring both the authors' and participants' perspectives, the book explores concepts such as collaborati

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Book SynopsisWhat links the popular songs You''ll Never Walk Alone, Send in the Clowns, Memory and I Am What I Am? They all originated in Broadway musicals. Song of the Season is for those who believe that the score is at the heart of a musical and is the essential building block on which the rest of a show is built. Through a systematic historical survey from 1891 to 2023 it argues that the best musicals survive because of their songs, from early 20th century classics such as Show Boat and Oklahoma! through to the contemporary sound of Dear Evan Hansen and Hamilton. looking at outstanding songs from each Broadway season, the development and history of the musical is illustrated with a fresh perspective. As song styles and popular music tastes changed throughout the decades this structure charts the progress of American showtunes alongside popular music forms as songs evolved from the waltz and ragtime to jazz, rock, rap and hip-hop. Fa

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Book Synopsis‘Tempest has a gift for shattering and transcending convention.’ New York TimesPhiloctetes lives in a cave on a desolate island: the wartime hero is now a wounded outcast. Stranded for ten years, he sees a chance of escape when a young soldier appears with tales of Philoctetes’ past glories. But with hope comes suspicion – and, as an old enemy emerges, he is faced with an even greater temptation: revenge.Kae Tempest is now widely acknowledged as a revolutionary force in contemporary British poetry, music and drama; they continue to expand the range of their work with a new version of Sophocles’ Philoctetes in a bold new translation. Like Brand New Ancients before it, Paradise shows Tempest’s gift for lending the old tales an immediate contemporary relevance – and will find this timeless story a wide new audience.Trade ReviewTempest . . . doesn't just leap off the page, but leaps into your throat and demands to be shouted all the way out. -- Marlon JamesOne of the brightest British talents around. [Tempest's] spoken-word performances have the metre and craft of traditional poetry, the kinetic agitation of hip-hop and the intimacy of a whispered heart-to-heart . . . drawing on ancient mythology and sermonic cadence to tell stories of the everyday * Guardian *Tempest stitches together words with such animate grace that language acquires an almost tactile quality . . . [An] hypnotically persuasive vision * New York Times *Breathe[s] new life into old classic forms . . . I loved its vision, powerful and merciful. -- Ali Smith, on Brand New Ancients

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Book Synopsis'Modern classics: elegantly written and breathtaking in their honesty' Daily ExpressSiân Phillips has a long and celebrated career on both stage and screen. For the first time, her two bestselling volumes of memoir Private Faces and Public Places will be available as a single volume with a brand new foreword by the author. With wonderful stories and unflinching candour, Private Faces and Public Places covers her life from its beginnings in the remote Welsh countryside, where life hadn't changed for centuries, to finding herself at the epicentre of the acting world at its most glamorous alongside husband Peter O'Toole, whose career was about to take off with the spellbinding Lawrence of Arabia. Siân describes the mad and wonderfully impulsive times with O'Toole alongside the tempestuous, insecure, and often lonely periods in their marriage. Incredibly, it endures over 20 years. When it ends, surprising even herself, she plunges straight into another marriage, with the much younger actor Robin Sachs. Emerging alone from her second marriage, triumphant and unrepentant, the story Siân tells ranks alongside the very best in show business.Trade Review'Magnificent' * Sunday Times *'A fascinating read, easily one of the best autobiographies of the year' -- Lynn Barber * Daily Telegraph *'A stimulating work of art . . . a rare bird indeed among "showbiz" books' -- Hugh Massingberd * Daily Telegraph *'A delightful memoir, written with great warmth and freshness' * Mail on Sunday *

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Book SynopsisCelebrating its eightieth birthday since being rebuilt in 1938, Liverpool’s Royal Court Theatre is a vital part of the city’s cultural identity. There has been a theatre on the site for nearly two hundred years, since Cooke’s New Circus started life as the result of an argument about a broken sewer in 1826. Quickly renamed the Royal Amphitheatre (and affectionately known as the Amphi), the theatre went on to serve the city in a number of guises. From an establishment where horses were the entertainers, to the home of ‘Scouse’ comedy, by way of a music venue, the Royal Court has become a popular, people’s theatre. Over the years, it has hosted its share of world-class actors including the debut stage appearances of both Judi Dench and Richard Burton. Wonderfully illustrated, this fascinating book is the first to tell the story of the oldest surviving theatre in the city. The 1938 prospectus declared it to be “a brave venture” and courage has characterised its history. Full of surprises, this book challenges perceptions of the Royal Court celebrating and commemorating an institution that has endured, flourished and re-shaped itself, on its own terms.Trade Review'This well researched book is the first to tell the story of Liverpool’s oldest surviving theatre... For readers interested in the development of regional theatre this is a fascinating companion piece to the author’s work on the Liverpool Playhouse and the Everyman Liverpool.'Arline Wilson, HSLC

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Book SynopsisWelcome to The Empire theatre1922. When Jack Treadwell arrives at The Empire, in the middle of a rehearsal, he is instantly mesmerised. But amid the glitz and glamour, he soon learns that the true magic of the theatre lies in its cast of characters - both on stage and behind the scenes.There's stunning starlet Stella Stanmore and Hollywood heartthrob Lancelot Drake; and Ruby Rowntree, who keeps the music playing, while Lady Lillian Lassiter, theatre owner and former showgirl, is determined to take on a bigger role. And then there's cool, competent Grace Hawkins, without whom the show would never go on . . . could she be the leading lady Jack is looking for?When long-held rivalries threaten The Empire's future, tensions rise along with the curtain. There is treachery at the heart of the company and a shocking secret waiting in the wings. Can Jack discover the truth before it's too late, and the theatre he loves goes dark?Musical theatre legend Michael Ball brings his trademark warmth, wit and glamour to this, his debut novel.Enjoy the show!Real readers love The Empire 'A charming, captivating, majestic, electrifying, exciting and dazzling masterpiece' 'This book was perfect' 'The Empire is fantastic read, and one of my favourites of this year!' 'A real razzmatazz of a read' 'What a wonderful book, as full of warmth and wit as Michael himself . . . absolute magic!' The Empire was a Sunday Times No. 3 bestseller for w/c 24/10/2022'Trade ReviewA wonderful read -- Jeffrey ArcherTakes you to the magical world of theatre -- Rosie GoodwinA wonderful book. A love letter to the theatre -- The Reverend Richard ColesA golden debut - charming, funny and romantic -- Cameron MackintoshA fantastic book. Brilliant -- Don Black OBE

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Book Synopsis‘She has, to my knowledge, an almost unblemished record in never having failed to spot a great new play…’ Philip Howard, from his Foreword Joyce McMillan has been writing about theatre in Scotland for more than three decades. As drama critic successively for The Guardian, Scotland on Sunday and The Scotsman, she has reviewed thousands of plays. During that time she has borne witness to an extraordinary cultural and political renaissance in Scotland, reflected in the newfound confidence of its playwrights, in the vibrancy of its theatre culture and in its recent outburst of new theatre companies. Compiled by McMillan and the theatre director, Philip Howard, Theatre in Scotland is a panoramic history of modern Scottish theatre, reported from the frontline. It traces the remarkable journey of Scottish theatre towards its new self-confidence: the road to 1990, when Glasgow was European Capital of Culture; followed by the explosive expansion of the 1990s; culminating in the emergence of the National Theatre of Scotland and its drive to bring theatre culture right into the heart of the nation. Gathered here are the leading Scottish playwrights, from John Byrne to Liz Lochhead, from David Greig to David Harrower, as well as the full breadth of English playwrights, from Shakespeare to Pinter. There are reflections on the great Scottish plays, classic – Ane Satyre of the Thrie Estaitis, Men Should Weep – and modern – Black Watch, The James Plays. There are reports not only from the urban theatre centres of Edinburgh and Glasgow but from all over Scotland; and from the feast that is the Edinburgh Festival, to the nourishing A Play, A Pie and A Pint. A leading thinker and writer about Scotland, McMillan has an incomparable ability to detect the wider cultural resonances in Scottish theatre, and to reveal what it can tell us about Scotland as a whole. Her book serves as a portrait of a nation and a shared cultural life, where visions of ‘what we have been, what we are, and what we might become’ are played out in sharp focus on its stages. ‘When Scottish theatre works [its] magic over the coming years, I will be there, to try to catch the moment in print, and to tell it as it was. And believe me, on the good nights and the bad ones, the privilege will be mine: to be paid to go looking for joy, and occasionally to find it.’ Joyce McMillan 'Joyce has an unrivalled passion and hunger for theatre - to be surprised by it, challenged by it, moved by it. Her prose when describing something which has done just this is inspiring and affecting.' Vicky FeatherstoneTrade Review'A superb collection… it is McMillan's impassioned ability to contextualise the work which makes this book of interest to those who wish to read about theatre but also contemporary political history' * Drama Magazine *'A wonderful book… a work of historical, sociological and political as well as artistic relevance, and also one which is hugely enjoyable… what most shines through these pages is McMillan’s spirit: erudite, curious, generous and with a blood-pumping passion for democracy and the value of theatre' * Bella Caledonia *'A very valuable resource indeed… [an] important book, as well as an invaluable reference work and a jolly good read' * The Herald *'A stimulating and excellent work which covers the decades when McMillan had the joy – her word – to cover Scottish theatre in what is the most exhilarating and fruitful period in its history… a work on Scottish theatre’s past which is of value for today and tomorrow' * Scottish Review of Books *'Our most essential voice on the artform and its relationship to our social and political landscape… an expertly edited compilation' * The Skinny *'Fascinating... a detailed and eclectic picture of how Scottish theatre, and indeed, Scottish life has changed and developed over three decades' * The Stage *'A worthy and most enjoyable collection' * British Theatre Guide *'An extraordinary range… a thoroughly uplifting collection, reinforcing the reputation of a cultural gatekeeper but more importantly celebrating Scottish theatre... vital to anyone seeking to understand Scotland’s cultural life in the last 30 years' * AllEdinburghTheatre.com *

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Book SynopsisA practical guide to creating and producing verbatim theatre, by an experienced theatre-maker and practitioner. Verbatim theatre is fashioned from words actually spoken by real people in real situations, and reproduced by actors in performance. An increasingly influential form of theatre, it has a unique ability to present stories from unfamiliar sources and bring unheard voices to the stage. Verbatim theatre is perhaps the most objective way of dramatising real life; its authenticity helps audiences to understand the world we live in, whether through testimony, eye-witness accounts or autobiography. Telling the Truth offers a step-by-step breakdown of the entire process of making your own verbatim-theatre production, covering everything you need to consider, including: Choosing your subject Preparing and conducting your interviews Refining your research into a single narrative strand Editing your material sensitively and ethically Providing your actors with exercises, techniques and advice to allow them to perform as `real' people Designing and staging your work for fully realised, physical performance In Telling the Truth, Robin Belfield draws on his own experiences of creating verbatim-theatre work, and interviews other major directors, writers and actors including Alecky Blythe, Patrick Sandford, Hilary Maclean and ACH Smith, providing tips and advice to help you make the most of every part of the verbatim-theatre process. An essential how-to guide for theatre-makers, artists, students and teachers who want to create their own verbatim-theatre production, Telling the Truth is also a fascinating read for those interested in the processes and inspirations that created the productions they love.Trade Review'A really informative read… full of resources, insights and clever ideas for writing, acting, staging and designing' * Word Matters (Journal of the Society of Teachers of Speech and Drama) *'Robin Belfield’s excellent book is a good primer for those wanting to create their own verbatim theatre production. Its theory is clear and easy to navigate... verbatim theatre is certainly worth exploring in the classroom and this book should be by your side as you do' * Ink Pellet *

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Book SynopsisA bold and exciting new approach to Bertolt Brecht, making his theories and ideas about theatre accessible to a new generation of actors, directors, students and theatre-makers, and showing how they can be put into practice. Theatre practitioner and academic David Zoob demystifies Brecht’s theories, and offers an approach to study and performance that can be applied to a wide range of texts and theatre styles. With close analysis of texts by writers including Shakespeare, Chekhov, Miller, Pinter, and of course Brecht himself, the author demonstrates how Brechtian techniques can provide practical pathways to exploring plays across the canon, as well as non-traditional forms of theatre. Also included are dozens of exercises to help turn theory into practice, and explore what Brecht’s ideas mean for actors and directors, both in training and rehearsal. Whether you’re a student, a teacher, an actor or a theatre-maker, this book will change the way you view and work with Brecht. `Zoob has engaged with Brecht’s many and varied principles for a politicised theatre and channelled them into a wide range of novel and innovative exercises that are applicable to a great many dramas and can equally interrogate devised material… Excellent ’ --David Barnett, Professor of Theatre, University of York, and author of Brecht in PracticeTrade Review'Brilliant… a fresh, energised approach [with] comprehensive exercises, playful games, script interpretations and plentiful opportunities for learning' * Drama Magazine *'Where David Zoob makes his mark is in demystifying the terminology and the practice, turning the unintelligible into the practical and allowing readers to gain a really good and deep understanding of what Brecht was trying to achieve and how his ideas can be applied to theatrical performances today… such is the breadth of Zoob's knowledge that anyone wishing to gain a greater understanding of acting and/or directing would do well to pick up a copy since they are just about guaranteed to learn something that will help them to work more effectively in future' * British Theatre Guide *'Demystifies Brecht in a straight-talking, deeply informed way… a fresh, energised approach' * Teaching Drama *

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a huge range and FREE tracked UK delivery on ALL orders.

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Book SynopsisThis book shows how Carnival under British colonial rule became a locus of resistance as well as an exercise and affirmation of power. Carnival is both a space of theatricality and a site of politics, where the playful, participatory aspects are appropriated by countervailing forces seeking to influence, control, channel or redirect power. Focusing specifically on the Maltese islands, a tiny European archipelago situated at the heart of the Mediterranean, this work links the contrast between play and power to other Carnival realities across the world. It examines the question of power and identity in relation to different social classes and environments of Carnival play, from streets to ballrooms. It looks at satire and censorship, unbridled gaiety and controlled celebration. It describes the ways Carnival was appropriated as a power channel both by the British and their Maltese subjects, and ultimately how it was manipulated in the struggle for Malta’s independence.Table of Contents1. Perceptions of Colony and Carnival.2. Power and its Historical Framework.-3. Social Difference and Street Dynamics.4. Fancy Dress, Rank and Dignity: Power and Play in Carnival Balls.5. ‘The sweet satires that prick where it is needed….’: The Caricature of Power.6. Raising the Levels of Street Carnivals – Competitions and Prizes.7. Carnival or Carnivals? Political Wrangles Between State, Church and Party.8. Politics vs Religion and State – Beyond Carnival and the Carnivalesque.9. Carnival as a Transnational Cultural Phenomenon.

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a huge range and FREE tracked UK delivery on ALL orders.

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Book SynopsisIts fusion of passion and mischief remains striking and there is something undeniably heady about its celebration of a kind of sexual liberation that looks a lot like flippancy - Evening StandardFrom 1930s bohemian Paris to the dizzying heights of Manhattan society, a tempestuous love triangle unravels between a vivacious interior designer, Gilda, playwright Leo and artist Otto - three people unashamedly and passionately in love with each other. But can such a lavish love affair survive the real world?Exploring themes of bisexuality, celebrity, success and self-obsession, Design for Living is a stylish and scandalous comedy, that is often revered as Coward''s most controversial and risqué work.This new edition is published in Methuen Drama''s iconic Modern Classics series to coincide with the 50th anniversary of Coward''s death and features a new introduction by Oliver Soden.

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Book SynopsisThis is the first fully annotated, single-volume critical edition of Fletcher and Massinger's The False One, with an introduction that offers new insights on the date and the theatre of the play's first performance, freshly examines its sources and explores the theatrical potential of a play that has hitherto been lost to the dramatic repertory. -- .

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Book SynopsisDraping Period Costumes provides you with the skill set you need to break away from two-dimensional patterns to drape three dimensional costumes. The basics of draping are explained in precise detail, followed by step-by-step draping projects from multiple historical periods. Packed with photographs that illustrate every seam, pleat, and tuck, youâll never be lost with this comprehensive guide. -Includes information on measurements, necessary tools, and basic rules of draping -Covers costumes for both men and women - Discusses appropriate period under garments and fabric choicesLet expert draper Sharon Sobel teach you all you need to know to perfectly drape any period costume!Table of ContentsIntroduction Overview and objectivesChapter 1 Getting StartedChapter 2 Early, Unstructured GarmentsChapter 3 Cut and shaped to fitChapter 4 The Height of Artificial SilhouetteChapter 5 The Men return to softness. Chapter 6 .while the women remain tightly lacedChapter 7 The introduction of tailoring to the man's costumeChapter 8 Variety of fit in the 18th century woman's costume Chapter 9 Neoclassical eleganceChapter 10 Revolutionary menswearChapter 11 Romantic womenswearChapter 12 The Victorian gentlemanChapter 13 The Victorian lady Chapter 14 SkirtsGlossaryBibilography

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Book SynopsisThe Complete Works: Modern Critical Edition is part of the landmark New Oxford Shakespeare--an entirely new consideration of all of Shakespeare''s works, edited afresh from all the surviving original versions of his work, and drawing on the latest literary, textual, and theatrical scholarship. In one attractive volume, the Modern Critical Edition gives today''s students and playgoers the very best resources they need to understand and enjoy all Shakespeare''s works. The authoritative text is accompanied by extensive explanatory and performance notes, and innovative introductory materials which lead the reader into exploring questions about interpretation, textual variants, literary criticism, and performance, for themselves.The Modern Critical Edition presents the plays and poetry in the order in which Shakespeare wrote them, so that readers can follow the development of his imagination, his engagement with a rapidly evolving culture and theatre, and his relationship to his literary contemporaries.The New Oxford Shakespeare consists of four interconnected publications: the Modern Critical Edition (with modern spelling), the Critical Reference Edition (with original spelling), a companion volume on Authorship, and an online version integrating all of this material on OUP''s high-powered scholarly editions platform. Together, they provide the perfect resource for the future of Shakespeare studies.Table of ContentsTHE COMPLETE WORKS

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Book SynopsisFrom before history was recorded to the present day, theatre has been a major artistic form around the world. From puppetry to mimes and street theatre, this complex art has utilized all other art forms such as dance, literature, music, painting, sculpture, and architecture. Every aspect of human activity and human culture can be, and has been, incorporated into the creation of theatre. In this Very Short Introduction Marvin Carlson takes us through Ancient Greece and Rome, to Medieval Japan and Europe, to America and beyond, and looks at how the various forms of theatre have been interpreted and enjoyed. Exploring the role that theatre artists play -- from the actor and director to the designer and puppet-master, as well as the audience -- this is an engaging exploration of what theatre has meant, and still means, to people of all ages at all times.ABOUT THE SERIES: The Very Short Introductions series from Oxford University Press contains hundreds of titles in almost every subject area. These pocket-sized books are the perfect way to get ahead in a new subject quickly. Our expert authors combine facts, analysis, perspective, new ideas, and enthusiasm to make interesting and challenging topics highly readable.Table of Contents1. What is theatre? ; 2. Theatre and religion ; 3. Theatre and performance ; 4. Theatre and drama ; 5. The makers of theatre ; Further reading ; Index

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Book SynopsisLucy Kerbel's 100 Great Plays for Women is an inspiring guide to a hundred plays that put female performers centre stage, dispelling the myth that 'There just aren't any good plays for women'. With a foreword by Kate Mosse. Women buy the majority of theatre tickets, make up half the acting profession, and are often the largest cohort of any youth theatre or drama club. And yet they have traditionally been underrepresented on stage. 100 Great Plays for Women seeks to address this gap by celebrating the wealth of drama available for women to perform. Theatre director Lucy Kerbel's myth-busting book features compact and insightful introductions to 100 plays, each of which has an entirely or predominantly female cast, with the female characters taking an equal or decisive role in driving the on-stage action. Also included are ten plays for solo female performers. The result is a personal but wide-ranging reappraisal of the theatrical canon, a snapshot of the very best writing – from ancient times right up to the present day – that has female protagonists at its heart. A fascinating mixture of familiar and less well-known works dealing with a broad range of themes, it is an essential resource for all directors and producers looking for plays to stage, writers seeking inspiration and actors trying to track down a new audition piece. It is also an exciting provocation that will have readers, both male and female, championing their own personal favourites. The book is the culmination of a project by Tonic Theatre and the National Theatre Studio. Tonic Theatre was founded by Lucy Kerbel in 2011 to support the theatre industry in achieving greater gender equality in its workforces and repertoires; it partners with leading theatre companies around the UK on a range of projects, schemes and creative works. The National Theatre Studio provides support and resources for both emerging and established theatre-makers of outstanding talent, and contributes to the National’s ongoing search for and training of new artists. 'A gem of a book… Lucy Kerbel has done hard-working directors and artistic directors, of spaces large and small, a great service.' Kate Mosse, from her forewordTrade Review'Essential... impressive scope and sweep... exhilarating. With luck, theatres will take note and playwrights will be inspired' * Times Literary Supplement *'Highly readable... remarkably eclectic... What makes this such a good read is the author's passion for her subject but also an ability to summarise the guts of a play in very few words, while at the same time putting them into a historical and social context.' * British Theatre Guide *'A remarkable assemblage... will prompt many a new production in the years ahead' * Michael Quinn, The Stage's Books of the Year 2013 *'Rich and rewarding... this is an intelligently assembled collection, each play insightfully interrogated, its claims for inclusion persuasively argued. Producers, directors and actors will find much here to intrigue and excite.' * The Stage *'Whether you are looking for a thought-provoking play to liven up the amateur repertoire, a play for a room above a pub or one to fill a provincial stage, this book will ensure that you are spoilt for choice.' * Drama Resource *'A cornucopia of riches. Lucy Kerbel has done theatre writing great service with this book of significance' * Theatre in Wales *'A must-have for any teacher or director... the long-overdue first step on the path to redressing an age-old imbalance' * Teaching Drama Magazine *'Wonderful... the perfect blend of academic and creative forces' * Female Arts *'A marvellous record or social history of society and its attitude and representation of women through the ages... full of surprises, discoveries and jogs to our memory' * ReviewsGate.com *

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Book SynopsisHistorical Wig Styling: Ancient Egypt to the 1830s, 2nd edition, is a guide to creating beautiful, historically accurate hairstyles for theatrical productions and events. This volume covers hairstyles from Ancient Egypt through Romantic/Biedermeier styles of the 1820s and 30s. Chapters begin with an overview of historic figures who influenced the look of each period and their styles, followed by step-by-step instructions and photographs showing the finished look from every angle. The book also explores the necessary supplies and styling products needed to create the perfect coif, tips for proper wig handling, a brief history of the makeup for each historical period, and basic styling techniques useful when working with wigs or real hair. New hairstyles featured in this edition include:- Ancient Egyptian male dreadlocks- Ancient Grecian male curls- Ancient Roman braided goddess- Braided Medieval lady- Regency Table of Contents1. Introduction to Wig Styling Techniques 2. Ancient Egyptian Era, 3500 BC-300 BC 3. Ancient Greece, 2900 BC-200 BC 4. Ancient Roman styling, 600 BC-476 AD 5. Medieval Ages, 476-13TH Century 6. Renaissance Era, 1350-1550 7. The Elizabethan Era,1500-1603 8. The Cavalier/Jacobean Period, 1603-1660s 9. Restoration/Baroque Era, 1660-1710 10. Georgian/Rococo Period, 1711-1789 11. Regency/Empire Period, 1789-1820 12. Romantic/Biedermeier Period, 1820-1830s Appendix 1. Glossary of hairstyling terms Appendix 2. List of Historical Films set in each era Appendix 3. List of Wig and Hair Suppliers

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Book SynopsisPublished here in its entirety in English, Artaud's Revolutionary Messages collects Antonin Artaud's political, aesthetic and philosophical writings during his travels to Mexico in 1936. Written around the same time as his seminal work The Theatre and its Double, it captures a crucial point in Artaud''s life shortly before he was admitted to a mental asylum in which he was to spend a significant part of his later life. Revolutionary Messages contains conferences that Artaud gave at the University of Mexico, articles from the daily Mexican newspaper El Nacional Revolucionario and a study of three seminal artists of the time influenced by or from Mexico: Franz Hals, Ortiz Monasterio and Maria Izquierdo. Not only will you gain crucial insight into Artaud's time in Mexico and his vision of a total revolution, which he places in distinction to Marxist and Surrealist conceptions of revolution, but you will deepen your understanding of th

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