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The screenplay version of the musical which places Ichabod Crane back in Sleepy Hollow, twenty years later, to save the town (now renamed Dollarville) from itself.
From the listless repose of the place, and the peculiar character of its inhabitants, who are descendants from the original Dutch settlers, this sequestered glen has long been known by name of Sleepy Hollow... A drowsy, dreamy influence seems to hang over the land, and to pervade the very atmosphere. Washington Irving
Full-Length Musical This rethinking of Washington Irving's classic short story casts Ichabod Crane as the villain of the piece and provides the backstory of the town of Sleepy Hollow complete with sorcery and dark secrets. The stirring music, magical effects, and intriguing plot twists transform this familiar legend into a powerful theatrical experience. (Cast: 8F, 11M, Flexible)
This is the published version of Christopher Cook's celebrated play based on Washington Irving's haunting tale! Available for the first time, this handsomely bound edition of The Legend of Sleepy Hollow presents all the splendor and mystery of Washington Irving's lyrical prose in dramatic form. Beautifully adapted by award-winning playwright, Christopher Cook, this stage version brings to life the eccentric characters and pastoral landscapes of Irving's timeless masterpiece. In the peaceful little hamlet of Sleepy Hollow, all is not as it appears. For behind its genteel facade lies a secret that has long loomed over the bucolic community since the Revolutionary War. The year is 1795. Our story revolves around Christian souls who share cautionary tales of ghosts and goblins, a favorite being that of a Hessian soldier who was beheaded by cannon fire. A stranger's arrival presages unusual events when Ichabod Crane, a journeyman schoolmaster, takes up residence in the quaint village. Fate plays a dark role as his relations with Katrina, heiress apparent to the Van Tassel fortune, disintegrate. Courted by another suitor, the rough-edged Brom Bones, Katrina rebuffs the teacher's advances, opting instead for his formidable rival. Enter the infamous headless horseman, wielding a razor-sharp scythe in one hand and a pumpkin in the other. Galloping wildly through brush and bramble, the goblin tears through the woodlands on a quest of revenge. An unforeseen encounter between Crane and horseman ultimately results in the pedagogue's mysterious disappearance. With a host of Irvian characters as colorful as they are authentic, and a veritable tapestry of words painted in rich images, magic and suspense abound in this tale of dark humor and gothic horror. This play and its subsequent productions is certain to secure Cook's theatrical treatment as a bona fide Halloween classic in the annals of the American stage!
It is 1799, the eve of a new century. In New York City, young Constable Ichabod Crane is eager to use the latest scientific methods to solve the most brutal of crimes. But nothing can prepare him for the shocking murders that take him far from the city's cobblestones to the eerie town of Sleepy Hollow. Awaiting him are three beheaded bodies, all apparently victims of a legendary Headless Horseman returned from the grave to exact revenge. Ichabod uses reason to confront the horrors of the unexplained, but the reality of Sleepy Hollow's waking nightmare is always before him. A reality where witches cast spells in the darkened woods.trees bleed.and a demon rides at night.
The headless horseman rides again.
In spite of the importance of the idea of the 'tale' within Romantic-era literature, short fiction of the period has received little attention from critics. Contextualizing British short fiction within the broader framework of early nineteenth-century print culture, Tim Killick argues that authors and publishers sought to present short fiction in book-length volumes as a way of competing with the novel as a legitimate and prestigious genre. Beginning with an overview of the development of short fiction through the late eighteenth century and analysis of the publishing conditions for the genre, including its appearance in magazines and annuals, Killick shows how Washington Irving's hugely popular collections set the stage for British writers. Subsequent chapters consider the stories and sketches of writers as diverse as Mary Russell Mitford and James Hogg, as well as didactic short fiction by authors such as Hannah More, Maria Edgeworth, and Amelia Opie. His book makes a convincing case for the evolution of short fiction into a self-conscious, intentionally modern form, with its own techniques and imperatives, separate from those of the novel.