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Theater on the Cape began in 1916 when a group of artists and writers in Provincetown mounted a production of a one-act play, Bound East for Cardiff, by a little-known playwright, Eugene O'Neill. They staged the play in a rickety old theater on a wharf in what was then little more than a sleepy fishing village. From that artists' colony--and others like it across the Cape and Islands--it grew into the constantly expanding theater universe it is today. The theatrical descendants of O'Neill and the Provincetown Players continue to present classical drama, contemporary hits and new, experimental works to audiences that have come to expect the best. In her tour of the theaters from Provincetown to Falmouth, author and entertainment columnist Sue Mellen reveals the rich past behind a unique cultural treasure.
AUTHOR'S NOTE: This book has been replaced by a fuller account of Edward Gorey's theatrical work, Edward Gorey On Stage: Playwright, Director, Designer, Performer: a Multimedia Memoir, available in both print and e-book formats. How to classify the extraordinary Edward Gorey? Artist? Writer? Dark humorist? What about Dramatist? It was in theatre that Gorey's public career started and finished. As a postwar Harvard University student, he and his friends Frank O'Hara, Alison Lurie, John Ashbery, and others created the legendary Poets' Theatre. After winning a Tony Award on Broadway for Frank Langella's Dracula, Gorey left New York for Cape Cod. From Woods Hole to Provincetown, he wrote, designed, and directed a scintillating set of "entertainments" starring local actors and his own troupe of handmade puppets. Chief producer of Gorey's plays was his friend and neighbor Carol Verburg. Now she tells how he did it. From "The Helpless Doorknob" and "The Gilded Bat" to "Horror at Hamstrung Hall" and "Porptiga," she chronicles Gorey's adventures in drama, puppetry, opera, and even (briefly) acting.
This is a book for the thinking actor, and the finest actors I've known are just that. The best actors bring it all together body, heart, spirit, and mind. This book is for the actor who thinks about craft and influence, who thinks about the relationship of performance to living, who thinks about doing and what that doing means. Acting is a metaphor and it's a mirror, and, so, a theory of acting, if true, shows us to ourselves. Jeff Zinn knows this. He knows it as an actor, director, teacher, and thinker. His theory of everything is simple and revelatory. (from the foreword by Todd London)
Della makes cakes, not judgment calls – those she leaves to her husband, Tim. But when the girl she helped raise comes back home to North Carolina to get married, and the fiancé is actually a fiancée, Della’s life gets turned upside down. She can’t really make a cake for such a wedding, can she? For the first time in her life, Della has to think for herself.
In August 1831, Nat Turner led a slave uprising that shook the conscience of the nation. Turner's startling account of his prophecy and the insurrection was recorded and published by attorney Thomas R. Gray. Nathan Alan Davis writes a timely new play that imagines Turner's final night in a jail cell in Jerusalem, Virginia, as he is revisited by Gray and they reckon with what has passed, and what the dawn will bring. Woven with vivid imagery and indelible lyricism, Nat Turner in Jerusalem examines the power of an individual's resolute convictions and their seismic reverberations through time.
Een gescheiden echtpaar ontmoet elkaar weer na vijf jaar, terwijl zij beiden op huwelijksreis zijn met hun nieuwe partner.
THE STORY: In her Amherst, Massachusetts home, the reclusive nineteenth-century poet Emily Dickinson recollects her past through her work, her diaries and letters, and a few encounters with significant people in her life. William Luce’s classic play shows us both the pain and the joy of Dickinson’s secluded life.
This book covers the history of theater as well as the literature of America from 1880-1930. The years covered by this volume features the rise of the popular stage in America from the years following the end of the Civil War to the Golden Age of Broadway, with an emphasis on its practitioners, including such diverse figures as William Gillette, Mrs. Fiske, George M. Cohan, Maude Adams, David Belasco, George Abbott, Clyde Fitch, Eugene O’Neill, Texas Guinan, Robert Edmond Jones, Jeanne Eagels, Susan Glaspell, The Adlers and the Barrymores, Tallulah Bankhead, Philip Barry, Maxwell Anderson, Mae West, Elmer Rice, Laurette Taylor, Eva Le Gallienne, and a score of others. Entries abound on plays of all kinds, from melodrama to the newly-embraced realistic style, ethnic works (Irish, Yiddish, etc.), and such diverse forms as vaudeville, circus, minstrel shows, temperance plays, etc. This second edition of Historical Dictionary of American Theater: Modernism covers the history of modernist American Theatre through a chronology, an introductory essay, and an extensive bibliography. The dictionary section has over 2,000 cross-referenced entries on actors and actresses, directors, playwrights, producers, genres, notable plays and theatres. This book is an excellent access point for students, researchers, and anyone wanting to know more about the American Theater in its greatest era.
"an energetic, sardonic, often comical musical about a composer during a medical emergency. Gordon collapses into his lunch and awakes in the hospital, surrounded by his maritime-enthusiast lover, his mother, a co-worker, the doctor, and the nurses. Reluctantly, he had been composing a song for a children’s television show that features a frog – Mr. Bungee – and the specter of this large green character and the unfinished work haunts him throughout his medical ordeal. What was thought to be a tumor turns out to be something more operable, and Gordon recovers, grateful for a chance to compose the songs he yearns to produce."--Publisher.
“As finely worked as a Swiss watch and as funny as the human condition permits ... the zigzag brilliance of the text as the clunky lines of the farce-within-a-farce rub against the sharp dialogue of reality.” The Guardian A play-within-a-play following a touring theatre company who are rehearsing and performing a comedy called Nothing On, results in a riotous double-bill of comedic craft and dramatic skill. Hurtling along at breakneck speed it shows the backstage antics as they stumble through the dress-rehearsal at Weston-super-Mare, then on to a disastrous matinee at Ashton-under-Lyne, followed by a total meltdown in Stockton-on-Tees. Michael Frayn's irresistible, multi-award-winning backstage farce has been enjoyed by millions of people worldwide since it premiered in 1982 and has been hailed as one of the greatest British comedies ever written. Winner of both Olivier and Evening Standard Awards for Best Comedy. This edition features a new introduction by Michael Blakemore.