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London, 1660. King Charles II has exploded onto the scene with a love of all things loud, extravagant and sexy. And at Drury Lane, a young Nell Gwynn is causing stirrings amongst the theatregoers. Nell Gwynn charts the rise of an unlikely heroine, from her roots in Coal Yard Alley to her success as Britain's most celebrated actress, and her hard-won place in the heart of the King. But at a time when women are second-class citizens, can her charm and spirit protect her from the dangers of the Court? Jessica Swale's exhilarating take on the heady world of Restoration theatre premiered at Shakespeare's Globe, London, in September 2015, before transferring to the West End in February 2016, starring Gemma Arterton. It won the Olivier Award for Best New Comedy in 2016.
Reproduction of the original: Mistress Nell by George C. Jr Hazelton
This book demonstrates that 'the awkward age' formed a fault-line in Victorian female experience, an unusual phase in which restlessness, self-interest, and rebellion were possible. Tracing evolving treatments of female adolescence though a host of long-forgotten women's fictions, the book reveals that representations of the girl in popular women's literature importantly anticipated depictions of the feminist in the fin de siècle New Woman writing; conservative portrayals of girls' hopes, dreams, and subsequent frustrations helped clear a literary and cultural space for the New Woman's 'awakening' to disaffected consciousness. The book thus both historicises the evolution and mythic appeal of the female adolescent and works to receive suggestive exchanges between apparently diverse female literary traditions.
In the 1920s and 1930s Noël Coward mastered and defined the art of the revue sketch - short and often topical or satirical stage pieces, many of which were a lead-in to his famous songs. He wrote these sketches for the top revues of the 1920s and 1930s, including London Calling! (1923) and Cochrane's Revue of 1931. This volume collects Coward's best and most witty pieces, including Rain Before Seven, the only sketch he performed with Gertrude Lawrence, and the hilarious parody, Some Other Private Lives, in which Coward burlesques his own famous play, Private Lives. Also included are short one-act plays never before published. The collection includes an Introduction by Coward scholar Barry Day, setting the work in the context of its time and its dramatic form. A forgotten area of Coward's writing is now back in print.
This work examines the way the clown has been used as a serious character by important playwrights and directors in twentieth-century theater. Experiments with Clown by Jean Cocteau, Vsevolod Meyerhold, Bertolt Brecht, Samuel Beckett, Giorgio Strehler, Dario Fo, and Roberto Begnini are examined.
"In 1919, the four Turner sisters and their parents are barely scraping along. Their father is a low-paid boot stitcher in Johnson City, NY, and the Turners are always one paycheck away from eviction. When their father's hand is crushed and he's forced to quit, their domineering mother decides that the vaudeville stage is their best--and only--chance for salvation. With everything at stake, the Tumbling Turners take to the road and the four young women, teenagers Gert, Winnie, and Kit, and Nell, a 22-year-old new mother and recent widow of the Great War, are soon immersed in the tumultuous world of American Vaudeville on a nine-city tour that will make or break them. Swindlers and ne'er-do-wells await in abundance, but so does kindness, and just maybe a chance at love. Equal parts heartwarming, charming, and reflective, The Tumbling Turner Sisters is the story of the sacrifices we make in the name of family, and how the most unlikely choice can ultimately be the one to lead us toward our truest selves"--
In this brilliant study, Marc Robinson explores more than two hundred years of plays, styles, and stagings of American theater. Mapping the changing cultural landscape from the late eighteenth century to the start of the twenty-first, he explores how theater has--and has not--changed and offers close readings of plays by O'Neill, Stein, Wilder, Miller, and Albee, as well as by important but perhaps lesser known dramatists such as Wallace Stevens, Jean Toomer, Djuna Barnes, and many others. Robinson reads each work in an ambitiously interdisciplinary context, linking advances in theater to developments in American literature, dance, and visual art. The author is particularly attentive to the continuities in American drama, and expertly teases out recurring themes, such as the significance of visuality. He avoids neatly categorizing nineteenth- and twentieth-century plays and depicts a theater more restive and mercurial than has been recognized before. Robinson proves both a fascinating and thought-provoking critic and a spirited guide to the history of American drama.
THE STORY: In 1661 the most famous portrayer of female roles on the London stage was a performer named Kynaston. Like every other player permitted to enact such roles, Kynaston was a man. A celebrity artist shining bright at the crest of the Rest