Plays

Ten French farces as translated by Norman R. Shapiro, including the title play by Feydeau and: The Poor Beggar and the Fairy Godmother (Allais) Boubouroche, or She Dupes to Conquer (Courteline) It's All Relative (Labiche) Mardis Gras (Meilhac and Halevy) and more.

Wild plots and quicksilver wit characterize the plays of Georges Feydeau. Called the greatest master of French comedy since Molire by admirers such as Kenneth Tynan, Feydeau reflects the lusty tradition of the French bedroom farce as well as the tough exorbitant humor later to find full expression in the theater of the absurd.

Marathon Man, Butch Cassidy and the Sundance Kid, The Princess Bride, Misery. Author royalties donated to the Motion Picture and Television Fund.

This expanded edition of Free Shakespeare is a tool to liberate the works of Shakespeare from directors and academics who seek to impose their ideas upon the plays. John Russell Brown empowers actors and readers to approach the plays freshly and boldly armed with the many different interpretations inherent in the plays. Recognized as a benchmark for the understanding of Shakespearean performance in the twentieth century, a new chapter explores the technological and funding challenges facing Shakespearean productions in the next millennium.

Full of brilliance! It's a blockbuster and a mold-breaker. A one-of-a-kind Broadway musical. I loved it! - Clive Barnes, The New York Post A delightful salute to the human spirit! - David Hinckley, The Daily News Monty works on every level and is the kind of audience-pleaser that Broadway desperately needs. - Frank Scheck, The Hollywood Reporter

Aimed at the beginning acting student, this book takes a commonsense approach to the craft, building on basic techniques in the first part and then going on to cover two distinct types of theater; comedy and Shakespearean verse. Kuritz introduces basic acting techniques through a series of simple exercises. the section on verse analyzes accent and rhythm with examples of dialog, while the comedy chapter lists 15 examples of comic situations, along with definitions and examples of comic figures of speech. Warm-up exercises, comic dialect guidelines, and a general stage terminology contribute to the usefulness of the book. Recommended for theater arts collections in public, high school and college libraries.

The playscript to Ghost in the Machine by David Gilman begins with a common situation - that of a missing fifty dollar bill - and spins it into intriguing questions of probability, chance and the complexities of musical composition: illusion and reality.

If you're a fan of the celluloid musical, get ready - you are about to have one terrific time. -Shirley Jones It's here. The perfect gift for anyone who likes a good movie musical ... This is complete coverage: from stats through awards, to fun dirt on ten of everyone's favorite movies. It grabs you and you can't quit nibbling. -4-Front Kurtti challenges even the most astute music fan. -Edge. Includes more than 100 photos!

This superbly illustrated survey, published to celebrate Sir Alec Guinness's 75th birthday, is a full pictorial record of his career on stage and screen from the 1930s to the present day. Robert Tanitch, author of the highly acclaimed Gielgud, has undertaken all the photographic research and many of the photographs are appearing in book form for the first time. He provides a running commentary for each production plus quotes from the critics of the day. Guinness is both a record of an actor's distinguished career, and a tribute to the man himself.

If there ever has been a groundbreaking edition that likewise returns the reader to the original Shakespeare text, it will be the Applause Folio Texts. If there has ever been an accessible version of the Folio, it is this edition, set for the first time in modern fonts. The Folio is the source of all other editions. The Folio text forces us to re-examine the assumptions and prejudices which have encumbered over four hundred years of scholarship and performance. Notes refer the reader to subsequent editorial interventions, and offer the reader a multiplicity of interpretations. Notes also advise the reader on variations between Folios and Quartos. The heavy mascara of four centuries of Shakespearean glossing has by now glossed over the original countenance of Shakespeare's work. Never has there been a Folio available in modern reading fonts. While other complete Folio editions continue to trade simply on the facsimile appearance of the Elizabethan look, none of them is easily and practically utilized in general Shakespeare studies or performances.