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Your Modern Guide for Planning a Wedding that's Perfectly You Planning a wedding can be a bit overwhelming, but with the helpful how-tos and insider advice in this handy guide, you can forget the stress and focus on creating a day that truly reflects you as a couple. The Loverly Wedding Planner has everything you need to navigate the planning process in a way that is simple, meaningful, and really enjoyable. Kellee and Loverly's team of experts will help you plan a memorable, and perfectly personalized wedding, with: - Updated advice for fast-evolving wedding customs like mixed-gender bridal parties, social media etiquette, unplugged weddings, same-sex ceremonies, and more- Wedding worksheets and timelines that will help you stay organized and on track with detailed schedules, budgets, and to-do lists- Down and dirty checklists to help you prioritize and streamline every step of the planning process - Insider tips from Kellee, the Loverly team, and real-life couples who have recently said "I do"- Budget breakdowns from modern couples with differing allowances and priorities, as well as a handy section on contracts and negotiation
Few musicals have had the impact of Lerner and Loewe's timeless classic My Fair Lady. Sitting in the middle of an era dominated by such seminal figures as Rodgers and Hammerstein, Frank Loesser, and Leonard Bernstein, My Fair Lady not only enjoyed critical success similar to that of its rivals but also had by far the longest run of a Broadway musical up to that time. From 1956 to 1962, its original production played without a break for 2,717 performances, and the show went on to be adapted into one of the most successful movie musicals of all time in 1964, when it won eight Academy Awards. Internationally, the show also broke records in London, and the original production toured to Russia at the height of the Cold War in an attempt to build goodwill. It remains a staple of the musical theater canon today, an oft-staged show in national, regional, and high school theaters across the country. Using previously-unpublished documents, author Dominic McHugh presents a completely new, behind-the-scenes look at the five-year creation of the show, revealing the tensions and complex relationships that went into its making. McHugh charts the show from the aftermath of the premiere of Shaw's Pygmalion and the playwright's persistent refusal to allow it to be made into a musical, through to the quarrel that led lyricist Alan Jay Lerner and composer Frederick Loewe to part ways halfway through writing the show, up to opening night and through to the present. This book is the first to shed light on the many behind-the-scenes creative discussions that took place from casting decisions all the way through the final months of frantic preparation leading to the premiere in March 1956. McHugh also traces sketches for the show, looking particularly at the lines cut during the rehearsal and tryout periods, to demonstrate how Lerner evolved the relationship between Higgins and Eliza in such a way as to maintain the delicate balance of ambiguity that characterizes their association in the published script. He looks too at the movie version, and how the cast album and subsequent revivals have influenced the way in which the show has been received. Overall, this book explores why My Fair Lady continues to resonate with audiences worldwide more than fifty years after its premiere.
It's the first day of school and Kate is excited to meet her new teacher and friends. On the bus ride to school, Kate meets Jesse who is not as excited as she is about the first day of school. He is a bit sad. She tries to cheer him up. When fellow students, Mason and Benny, realize why Jesse is crying, they begin to bully him. In an interesting twist, Mason would later need Kate's and Jesse's help when he is found crying on the playground. Kate decides to help Mason. She uses this as an opportunity to show him what it means to be kind to others. Mason apologizes for bullying Jesse earlier in the day and learns the importance of being a buddy, not a bully.
The text of the Broadway musical adapted from George Bernard Shaw's Pygmalion.
When children are growing up they are not interested in family history. If I should bring the subject up the answer would usually be, “I know Dad, when you were young you milked ten cows before breakfast and walked ten miles to school – in the snow!”. It wasn’t that they didn’t care they were not interested. However, when they married and had children of their own they wanted to know more of the family history so they could pass it on to their children. “Dad, we don’t know anything about your family history, fill us in.” Now they were interested. That started me to thinking. I didn’t know much about my family tree. I would give anything to know more about my parent’s background and everyday life when they were growing up, guess I never asked! It occurred to me if I started writing a few facts about myself, in two or three generations future grandchildren would know. People who have read my story have said it has given them the idea to do the same for their children. One of the many reasons for writing Flowers For Cina, is to encourage parents to write about their everyday life.
Ellie Haskell goes back to school in the “thoroughly entertaining series” (Cosmopolitan) that began with The Thin Woman. From Agatha Award nominee Dorothy Cannell, this delightful mystery is an education . . . in murder. “Ellie, the headmistress wants to see you.” Words to strike terror in the heart of any inmate of St. Roberta’s boarding school. Fortunately for Ellie Haskell, she is no longer a pudgy, wayward pupil but a happily married mother and interior designer with a beautiful home by the sea. Rather, Ellie has been summoned thanks to her reputation as an amateur sleuth. The headmistress, Mrs. Battle, has requested Ellie’s help in the investigation into the disappearance of a coveted lacrosse trophy. Unless the prize is found, someone will succeed in dealing the school a great deal of embarrassment. So, despite her less-than-rosy memories of her alma mater, Ellie begins snooping around St. Roberta’s—only to have her homecoming spoiled by the suspicious death of the recently retired games mistress, Ms. Chips. Now, with a killer possibly stalking the halls, Ellie must act fast to have a sporting chance at justice. Praise for Goodbye, Ms. Chips “Engaging Ellie provides a peak at boarding-school charms and horrors while solving one of her more intriguing cases.”—Kirkus Reviews “This humorous cozy is filled with sympathetic characters and an inside look at an English boarding school.”—Booklist Praise for Dorothy Cannell and the Ellie Haskell series “It is the absurd predicaments of her central characters that readers find themselves recalling, and Cannell is cunning at devising outlandish situations for them.”—Chicago Sun-Times “Cannell is a master of subtle wit and humorous asides that lift her cozies to great heights. Before the influx of writers trying to out-humor Janet Evanovich, there was Dorothy Cannell. Long may she write!”—Library Journal
When Mark Faris first met Cate Greenway, he knew she was an angel. As a teenager hanging out with the neighborhood kids in 1970s Kansas City, Faris often went with his friends to Cates house and enjoyed picnics next to the wishing well in her field. They found safety and love there, and Cate became a guiding light for them. Even after Faris moved to Minneapolis and started a new life, he never forgot Cate. But it was years later in 2009 that Cate became an even more important influence on his life. After decades of self-interest, combined with his wobbly faith, Faris was convicted of money laundering, mail fraud, and wire fraud. He was incarcerated in a federal prison and separated from his family and friends. It was in prison that Cate appeared to him in angelic form, pushing Faris to make faith, love, and service for God the highest priorities in his life. Chronicling the drowsy summer days under under Cate's sprawling oak tree, his venture into the business world, and his renewal of faith in God, The Wishing Well is an honest look at Fariss life and how one special angel transformed it forever.
A Sourcebook on African-American Performance is the first volume to consider African-American performance between and beyond the Black Arts Movement of the 1960s and the New Black Renaissance of the 1990s. As with all titles in the Worlds of Performance series, the Sourcebook consists of classic texts as well as newly commissioned pieces by notable scholars, writers and performers. It includes the plays 'Sally's Rape' by Robbie McCauley and 'The American Play' by Suzan-Lori Parks, and comes complete with a substantial, historical introduction by Annemarie Bean. Articles, essays, manifestos and interviews included cover topics such as: * theatre on the professional, revolutionary and college stages * concert dance * community activism * step shows * performance art. Contributors include Annemarie Bean, Ed Bullins, Barbara Lewis, John O'Neal, Glenda Dickersun, James V. Hatch, Warren Budine Jr. and Eugene Nesmith.