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The story of Amelia Conway, a highly successful divorce attorney in San Francisco who has insisted on using her maiden name while married for 15 years to a highly successful construction engineer. He never forgets anniversaries, birthdays and holidays, but his roving work and roving eye keep his side of their double bed more unoccupied than occupied. Amelia has never dreamed her marriage might become endangered, although she's been aware of her husband's casual affairs, until his new over sexed blonde secretary asks her to arrange an annulment so she can marry a married man. He is, of course, the motel happy engineer. Shall she give up the man she loves and simultaneously clip him of their community property as punishment for his philandering, or should she try to save the marriage by turning to a psychiatrist with a nervous tic and a yen for the blonde who turns men on faster than she can type? Amelia finds the answer two hours and two hundred laughs later with the aid of a tape recorder and her young Machiavellian associate who is short in height but long in ideas. 
Divorce Me, Darling! is a nostalgic and amusing take-off of the musical comedies of the 1930s and a sequel to the technique used in The Boy Friend for the 1920s. The charming young pupils of Mme Dubonnet's finishing school who married their respective 'boy friends' now come together again after ten years of marriage at the Hotel du Paradis in Nice. But the initial euphoria of married life has worn off and as they sing and dance their way through some catchy numbers events are misconstrued and partners change until everyone wants a divorce. The situation is finally taken in hand by Mme Dubonnet, alias Madame K the cabaret singer, and her long-lost husband Percy. Having saved the President's life, Percy is reunited with Mme Dubonnet and this sets the trend, nature doing the rest. As the 'girls' return to their husbands each makes the startling announcement that there are several more happy events pending!
Dorothy L. Sayers was an English crime writer from the Golden Age of Detective Fiction. Sayers is best known for her mysteries featuring English aristocrat and amateur sleuth Lord Peter Wimsey. She also created few more characters such as detective Montague Egg and forensic analyst Sir James Lubbock. Table of Contents: Lord Peter Wimsey Series: Biographical Introduction Novels: Whose Body? Clouds of Witness Unnatural Death The Unpleasantness at the Bellona Club Strong Poison The Five Red Herrings Have His Carcase Murder Must Advertise The Nine Tailors Gaudy Night Busman's Honeymoon Lord Peter Views the Body: The Abominable History of the Man with Copper Fingers The Entertaining Episode of the Article in Question The Fascinating Problem of Uncle Meleager's Will The Fantastic Horror of the Cat in the Bag The Unprincipled Affair of the Practical Joker The Undignified Melodrama of the Bone of Contention The Vindictive Story of the Footsteps That Ran The Bibulous Business of a Matter of Taste The Learned Adventure of the Dragon's Head The Piscatorial Farce of the Stolen Stomach The Unsolved Puzzle of the Man with No Face The Adventurous Exploit of the Cave of Ali Baba Other Lord Peter Wimsey Stories: The Image in the Mirror The Incredible Elopement of Lord Peter Wimsey The Queen's Square The Necklace of Pearls In the Teeth of the Evidence Absolutely Elsewhere Striding Folly The Haunted Policeman Talboys Montague Egg Stories: The Poisoned Dow '08 Sleuths on the Scent Murder in the Morning One Too Many Murder at Pentecost Maher-Shalal-Hashbaz A Shot at Goal Dirt Cheap Bitter Almonds False Weight The Professor's Manuscript Other Novels & Stories: The Documents in the Case The Man Who Knew How The Fountain Plays The Milk-Bottles Dilemma An Arrow O'er the House Scrawns Nebuchadnezzar The Inspiration of Mr. Budd Blood Sacrifice Suspicion The Leopard Lady The Cyprian Cat
This book is not an encyclopaedia of the British musical in the twentieth century, but an examination of its progress as it struggled to find an identity. It shows how the British musical has reacted to social and cultural forces, suggesting that some of its leading composers such as Lionel Bart and Julian Slade contributed much more to the genre than has previously been acknowledged. As the British musical veered between opera, light opera, operetta, spectacle with music, kitchen-sink musical, recherché musical, adaptations of classic novels, socially conscious musicals et al., this fresh assessment of the writers and their work offers a new understanding of the art -- publisher description.
From Gilbert and Sullivan to Andrew Lloyd Webber, from Julie Andrews to Hugh Jackman, from Half a Sixpence to Matilda, Pick a Pocket Or Two is the story of the British musical: where it began and how it developed. In Pick a Pocket Or Two, acclaimed author Ethan Mordden brings his wit and wisdom to bear in telling the full history of the British musical, from The Beggar's Opera (1728) to the present, with an interest in isolating the unique qualities of the form and its influence on the American model. To place a very broad generalization, the American musical is regarded as largely about ambition fulfilled, whereas the British musical is about social order. Oklahoma!'s Curly wins the heart of the farmer Laurey--or, in other words, the cowboy becomes a landowner, establishing a truce between the freelancers on horseback and the ruling class. Half a Sixpence, on the other hand, finds a working-class boy coming into a fortune and losing it to fancy Dans, whereupon he is reunited with his working-class sweetheart, his modest place in the social order affirmed. Anecdotal and evincing a strong point of view, the book covers not only the shows and their authors but the personalities as well--W. S. Gilbert trying out his stagings on a toy theatre, Ivor Novello going to jail for abusing wartime gas rationing during World War II, fabled producer C. B. Cochran coming to a most shocking demise for a man whose very name meant "classy, carefree entertainment." Unabashedly opinionated and an excellent stylist, author Ethan Mordden provokes as much as he pleases. Mordden is the preeminent historian of the form, and his book will be required reading for readers of all walks, from the most casual of musical theater goers to musical theater buffs to students and scholars of the form.
The Great Depression was defined by poverty and despair, but visionary American filmmaker Busby Berkeley (1895-1976) managed to divert the public's attention away from the economic crash with some of the most iconic movies of all time. Known for his kaleidoscopic dance numbers featuring multitudes of performers in extravagant costumes, his musicals provided a brief respite for an audience whose reality was hard and bitter. Buzz: The Life and Art of Busby Berkeley is a revealing study of the director, drawing from interviews with his colleagues, newspaper and legal records, and Berkeley's own unpublished memoirs to uncover the life of a Hollywood legend renowned for his talent and creativity. Jeffrey Spivak examines how Berkeley's career evolved from creating musical numbers for other directors in films such as 42nd Street (1933) and Gold Diggers of 1933 (1933) to directing his own pictures, such as Strike up the Band (1940) and The Gang's All Here (1943). Though Berkeley claimed he was no choreographer, his movies revitalized the public's waning interest in musical pictures. While other popular filmmakers advertised their works specifically as nonmusical, Berkeley embraced his niche, eventually becoming the premier dance director of his time. However, the happy face Berkeley presented publicly did not necessarily reflect his life. Offstage and away from the set, the director met with scandal, and his fondness for liquor and women was well known. In September 1935, he was involved in a car accident that left three people dead and four others severely injured. Accused of driving under the influence, he was put on trial for second-degree murder. The accident significantly changed the nature of his stardom.
This book situates the production of The Boy Friend and the Players' Theatre in the context of a post-war London and reads The Boy Friend, and Wilson's later work, as exercises in contemporary camp. It argues for Wilson as a significant and transitional figure both for musical theatre and for modes of homosexuality in the context of the pre-Wolfenden 1950s. Sandy Wilson's The Boy Friend is one of the most successful British musicals ever written. First produced at the Players' Theatre Club in London in 1953 it transferred to the West End and Broadway, making a star out of Julie Andrews and gave Twiggy a leading role in Ken Russell's 1971 film adaptation. Despite this success, little is known about Wilson, a gay writer working in Britain in the 1950s at a time when homosexuality was illegal. Drawing on original research assembled from the Wilson archives at the Harry Ransom Center, this is the first critical study of Wilson as a key figure of 1950s British theatre. Beginning with the often overlooked context of the Players' Theatre Club through to Wilson's relationship to industry figures such as Binkie Beaumont, Noël Coward and Ivor Novello, this study explores the work in the broader history of Soho gay culture. As well as a critical perspective on The Boy Friend, later works such as Divorce Me, Darling!, The Buccaneer and Valmouth are examined as well as uncompleted musical versions of Pygmalion and Goodbye to Berlin to give a comprehensive and original perspective on one of British theatre's most celebrated yet overlooked talents.
I find this book a beautiful piece of retrospective writing full of sensitive insight and tender descriptions. The introduction is quite breathtaking as an anticipation of the events that will come later and is also a glimpse into the authors thoughts and, especially, his character. The introduction is also important in the way that it starts the question about the arrogance of society in relation to the painful misfortune of a person enduring a so-called mental illness. Society lifts its shield of indifference in order to build its precarious opulence out of the pain of the mentally ill person. I became familiar with the way that events are communicated so powerfully and particularly enjoyed witnessing the journey through the hardships and wonders of the authors adolescence in Africa. I was taken by the miracle of his description of the mysterious landscapes and places that inhabit his many memories. His work in various farms, weekends with friends, the awakening of love, his impressions of the Zulu workers, and the motorbikeall early memories that have a mix of innocence and candid enthusiasm colored by tender sensuality. The episode with the girls in the bus leaves the impression of being at one with the author in being fully aware of the experience while being acutely conscious of his feelings and meanings. In another chapter I found myself dramatically touching his experiences as a schoolboy in England and the difficulties of learning and relearning the peculiarities of the culture and the feelings of vulnerability finding his place in a foreign country. The author shows a lot of courage enduring this moment in his life. Another one of my favorite chapters was the unforgettable journey across Australia as a hitchhiker. A journey colored by freedom and friendship. Everything in the book is an anticipation of the authors meeting with Belinda. All women (including Beauty) are only affinities that have led to the real essence of love, all preparations for it. It is not difficult to understand the authors good fortune at being capable of holding in his mind and dreams the power of love and to be loved by a woman. This is the heart of the book. The mix of styles and poetry is powerful strength of the book. Many great authors have tried these combinations (Goethe, Emerson, Flaubert, and even Shakespeare) with amazing aesthetical results. The poet knows the language of the spirit. Life and death; love and sadness, loneliness are all mystical reflections which are the nourishments of the poems. All elements of the authors reality are beautifully drawn in a rhythmic space. This book travels beyond the intentions of comprehension of a medical condition. The mental pain experienced during the outbreak of depression is the material which gives birth to a reflective piece of art. Beauty comes from unexpected sources and this book is about the beauty of life.
The British musical in its formative years has appeared in strikingly different guises: from the lasting hits of Oliver!, and Me and My Girl, to the successes of The Dancing Years, Bless the Bride and Expresso Bongo. This authoritative study traces what made these shows successes in the West End and how their qualities define a uniquely British interpretation of the genre. Cultural, sociological and political influences entwine with close reading of the dramatic and musical elements of this repertory to reveal a fascinating web of connections and contrasts between the times, the shows and the people who made them. Through detailed case studies, such as of The Boy Friend and Bitter Sweet, the rich individuality of each West End work is spotlighted, posing vital questions and intriguing answers as to what a British musical can be. Interdisciplinary in nature, this study brings together all the core materials to discover this period in the story of the British musical. Reviewing the Situation is insightful and lively, an invaluable resource for students and scholars of musical theatre and all those theatregoers drawn to the power of these classic British shows.