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THE STORY: For a battle hardened combat soldier the peacetime Army can hold terrors that make him wish he were back in action again. Take the case of First Lieutenant Stanley Poole, a career Sergeant who earned a battlefield commission, and is now
Historical Dictionary of Contemporary American Theater. Second Edition covers theatrical practice and practitioners as well as the dramatic literature of the United States of America from 1930 to the present. The 90 years covered by this volume features the triumph of Broadway as the center of American drama from 1930 to the early 1960s through a Golden Age exemplified by the plays of Eugene O’Neill, Elmer Rice, Thornton Wilder, Lillian Hellman, Tennessee Williams, Arthur Miller, William Inge, Lorraine Hansberry, and Edward Albee, among others. The impact of the previous modernist era contributed greatly to this period of prodigious creativity on American stages. This volume will continue through an exploration of the decline of Broadway as the center of U.S. theater in the 1960s and the evolution of regional theaters, as well as fringe and university theaters that spawned a second Golden Age at the millennium that produced another – and significantly more diverse – generation of significant dramatists including such figures as Sam Shepard, David Mamet, Maria Irené Fornes, Beth Henley, Terrence McNally, Tony Kushner, Paula Vogel, Lynn Nottage, Suzan-Lori Parks, Sarah Ruhl, and numerous others. The impact of the Great Depression and World War II profoundly influenced the development of the American stage, as did the conformist 1950s and the revolutionary 1960s on in to the complex times in which we currently live. Historical Dictionary of the Contemporary American Theater, Second Edition contains a chronology, an introduction, and an extensive bibliography. The dictionary section has more than 1.000 cross-referenced entries on plays, playwrights, directors, designers, actors, critics, producers, theaters, and terminology. This book is an excellent resource for students, researchers, and anyone wanting to know more about American theater.
Praise from Jesse Green, New York Times Chief Theater Critic, Arts, in the 2023 Holiday Gift Guide: “From A (the director George Abbott) to Y ('You Could Drive a Person Crazy'), The Stephen Sondheim Encyclopedia, by Rick Pender, offers an astonishingly comprehensive look, in more than 130 entries, at the late master’s colleagues, songs, shows and methods." The Stephen Sondheim Encyclopedia is a wonderfully detailed and comprehensive reference devoted to musical theater’s most prolific and admired composer and lyricist. Entries cover Sondheim’s numerous collaborators, from composers and directors to designers and orchestras; key songs, such as his Academy Award winner “Sooner or Later” (Dick Tracy); and major works, including Assassins, Company, Follies, Sweeney Todd, and West Side Story. The encyclopedia also profiles the actors who originated roles and sang Sondheim’s songs for the first time, including Ethel Merman, Angela Lansbury, Mandy Patinkin, and Bernadette Peters. Featuring a detailed biographical entry for Sondheim, a chronology of his career, a listing of his many awards, and discussions of his opinions on movies, opera, and more, this wide-ranging resource will attract musical theater enthusiasts again and again.
“The definitive portrait of a woman conflicted, torn between ferocious ambition, family, and feminist causes” (Gail Sheehy, author of Passages). Jane Fonda emerged from a heartbreaking Hollywood family drama to become a ’60s onscreen ingénue and then an Oscar-winning actress. At the top of her game she risked it all, speaking out against the Vietnam War and shocking the world with a trip to Hanoi. One of Hollywood’s most committed feminists, she financed her husband Tom Hayden’s political career in the ’80s with a series of exercise videos that sparked a nationwide fitness craze. Even more surprising was Fonda’s next turn, as a Stepford Wife of the Gulfstream set, marrying Ted Turner and seemingly walking away from her ideals and her career. Patricia Bosworth goes behind the image of an American superwoman, revealing the real Jane Fonda—more powerful and vulnerable than we ever expected—whose struggles for high achievement, love, and motherhood mirror the conflicts of an entire generation of women. In the hands of this seasoned, tenacious biographer, the evolution of one of the world’s most controversial and successful women becomes nothing less than a great, enthralling American life. “A book that gets unusually close to its subject. It sees what Ms. Fonda cannot see about herself.” —The New York Times “Bosworth’s thorough account of this wild, uniquely twentieth-century Hollywood life makes Jane Fonda the actress even more intriguing.” —San Francisco Chronicle
A lively and informative look at the careers, works, and characteristics of the major librettists of the American theatre. Included are dozens of men and women who wrote the "books" for Broadway musicals over the past one hundred years, from George M. Cohan to the present day. Boy Loses Girl presents a whole new perspective for looking at the American musical theater. For film students, scholars and enthusiasts of the American musical theatre.
Released in 1969, 'Easy Rider 'broke the mold of Hollywood studio production, making stars of Peter Fonda, Dennis Hopper, and Jack Nicholson and launching a new wave of radical and experimental American cinema. 'Easy Rider 'was one of the crucial films of the late 60s, a film that enshrined the ideals of the counterculture but also foresaw the demise of these ideals in the despair and paranoia of a nation rocked by Watergate and the Vietnam War. It was a seminal road movie and a massive financial success that spawned endless imitations. Few films since have been able to catch its particular blend of innocence and cynicism, hope and despair. In his meticulously researched book, Lee Hill analyzes both the circumstances surrounding the making of 'Easy Rider 'and the social and cultural forces that found expression in it. Hill persuasively argues that the role of illustrious screenwriter Terry Southern in 'Easy Rider 'has been neglected as the exact circumstances of production, filming, and editing have become lost in mythmaking. Referring to little known archival material, Hill questions some of the legends that surround 'Easy Rider.'