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Red Riding Hood is off to see her grandmother, but she doesn't know the wolf is following her every step of the way! Will she spot him lurking behind the flaps on every page?
"Screamingly funny, utterly filthy and unexpectedly moving" – Mark Gatiss "Jon and Martin's pantomimes have huge heart. I haven't missed one for years" – Matthew Todd Above The Stag Theatre's adult pantomimes are a London institution, selling out every year. Celebrating a decade of laughter, He's Behind You! makes these acclaimed theatre scripts available for the first time, placing queer characters front and centre in popular fairytales, myths and legends. Reimagined versions of Cinderella, Pinocchio, Beauty and the Beast, Treasure Island, Jack and the Beanstalk and more combine wit, wonder and social satire with the best traditions of the great British panto.
Will the magic of the pantomime rub off on its performers? Declan has been acting, singing and dancing since he could walk, but nothing comes close to the thrill of working in a pantomime with the beauty and wonder of Christmas around him. When Declan trades kisses with a younger actor, he panics and pulls away. Micah loves the theatre. Everything about it sings through his blood. Falling for his co-star was not in his plan, but maybe he can find love this Christmas. When they begin their performances, Declan’s behaviour throws that idea into the wind until Micah becomes ill, and Declan is the one to nurse him back to health. What stops Declan from giving Micah his heart and building something magical? An MM romance about sexual awakening, an age gap and the joy of Christmas.
Lightning provides: 32 books with 3 levels of differentiation per book; whole texts that provide NLS genre coverage; linked themes across fiction, non-fiction and the wider curriculum; focussed teaching support for each book including comprehension and writing activities; and a teaching and practice CD that provides opportunities for ICT.
Last Christmas, Francis had a promising acting career and a budding romance with Duncan. This Christmas, it seems he's lost it all. When his mum persuades him to help her with the annual village production, he's drawn back into the wacky world of amateur pantomime. This year's production has all kind of new twists, the village players are eccentric although enthusiastic, and Francis isn't sure he ever saw himself as a director. And what his mother also didn't tell him was, he'd be working with Duncan by his side. But if he can cope with charity shop costumes, squabbling characters, cross-dressing, and all the corny jokes, can he also believe in the show's magical triumph of Good over Bad, and win a second chance with Duncan? After all, in pantomime, everyone gets their wish granted in the end.
Andrew was a son of a powerful sub-king. His father wanted twelve sons, each to be named after one of the twelve holy men he had learned about from an itinerant preacher. When tragedy struck and the kings wife died giving birth to a sixth brother, all talk of faith died with her. The kings eyes turned solely to the defense of his lands. The teachings which were tied to a God whom he thought had failed him, were not to be part of the picture. These were rough times. Vikings were raiding the shore areas taking what they wanted and leaving destruction. There was strife closer to home as well, as stronger families tried to grasp more land from weaker families. Andrew knew the direction that his life would be taking. When he became old enough, he would start weapons training. He would learn the ways of the warrior, and he would join his fathers war band and defend his land from the invading Vikings. Life, however, does not always meet expectations. Another traveling preacher visits the land and talks to Andrew about a different path to follow a path that does not parallel the ways of a warrior. Which path will Andrew follow?
“An intense snapshot of the chain reaction caused by pulling a trigger.” —Booklist (starred review) “Astonishing.” —Kirkus Reviews (starred review) “A tour de force.” —Publishers Weekly (starred review) A Newbery Honor Book A Coretta Scott King Honor Book A Printz Honor Book A Time Best YA Book of All Time (2021) A Los Angeles Times Book Prize Winner for Young Adult Literature Longlisted for the National Book Award for Young People’s Literature Winner of the Walter Dean Myers Award An Edgar Award Winner for Best Young Adult Fiction Parents’ Choice Gold Award Winner An Entertainment Weekly Best YA Book of 2017 A Vulture Best YA Book of 2017 A Buzzfeed Best YA Book of 2017 An ode to Put the Damn Guns Down, this is New York Times bestselling author Jason Reynolds’s electrifying novel that takes place in sixty potent seconds—the time it takes a kid to decide whether or not he’s going to murder the guy who killed his brother. A cannon. A strap. A piece. A biscuit. A burner. A heater. A chopper. A gat. A hammer A tool for RULE Or, you can call it a gun. That’s what fifteen-year-old Will has shoved in the back waistband of his jeans. See, his brother Shawn was just murdered. And Will knows the rules. No crying. No snitching. Revenge. That’s where Will’s now heading, with that gun shoved in the back waistband of his jeans, the gun that was his brother’s gun. He gets on the elevator, seventh floor, stoked. He knows who he’s after. Or does he? As the elevator stops on the sixth floor, on comes Buck. Buck, Will finds out, is who gave Shawn the gun before Will took the gun. Buck tells Will to check that the gun is even loaded. And that’s when Will sees that one bullet is missing. And the only one who could have fired Shawn’s gun was Shawn. Huh. Will didn’t know that Shawn had ever actually USED his gun. Bigger huh. BUCK IS DEAD. But Buck’s in the elevator? Just as Will’s trying to think this through, the door to the next floor opens. A teenage girl gets on, waves away the smoke from Dead Buck’s cigarette. Will doesn’t know her, but she knew him. Knew. When they were eight. And stray bullets had cut through the playground, and Will had tried to cover her, but she was hit anyway, and so what she wants to know, on that fifth floor elevator stop, is, what if Will, Will with the gun shoved in the back waistband of his jeans, MISSES. And so it goes, the whole long way down, as the elevator stops on each floor, and at each stop someone connected to his brother gets on to give Will a piece to a bigger story than the one he thinks he knows. A story that might never know an END…if Will gets off that elevator. Told in short, fierce staccato narrative verse, Long Way Down is a fast and furious, dazzlingly brilliant look at teenage gun violence, as could only be told by Jason Reynolds.
"Anecdotal and evincing a strong point of view, [this] 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.' ... 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"--
Foreword by David Didau. Samuel Elliott has been the pupil from hell. He knows what he needed from his teachers in order to turn his life around - and in this book he shares that knowledge with hard-pressed colleagues who just want to do their best for their pupils. In ASBO Teacher Samuel offers no-nonsense principles hewn from the chalkface of the modern British classroom: ideas and approaches that have worked for the author in the most challenging settings and with the most testing pupils. Covering a range of issues spanning behaviour management, lesson structure, resource preparation and narratives in the classroom, the book is a blueprint for becoming a particular kind of teacher - one who has high expectations, a concern for pupil well-being, and a knack for ushering learners into more effective learning. (Note: ASBO stands for 'antisocial behaviour order', a legal order in the UK issued to restrict an individual aged ten or above from harassing or causing alarm or distress to other people.)
The career of Louise Bennett ('Miss Lou') is an essential component in any reckoning of Jamaican culture. This book offers a brief account of her life (1919-2006): a story of challenges and blessings, of a journey towards national and international acclaim. It draws on a variety of sources, including interviews, archives, academic theses, documentary projects, recorded performances and Louise Bennett's own writings. It also offers an assessment of Miss Lou's contribution to the arts. She was a key figure in the transformation of the Little Theatre Movement pantomime; a generous, well trained actor; an expert creator of Anancy stories; a television personality regularly engaging with children; a distinctive radio commentator; a laughing poet evaluating attitudes, sometimes with complex irony. Miss Lou used Standard English comfortably in many contexts, and did not wish the country rid of it; but she chose in most of her creative work to employ the language most Jamaicans speak. Her ebullient delight in Jamaican Creole spread joy and promoted respect. A diligent researcher into Jamaican heritage, she acknowledged its various streams, but was especially concerned with continuities out of Africa. When the Asian culture and the European culture buck up on African culture in the Caribbean people, we stir them up and blend them to we flavour, we shake them up and move them to we beat, we wheel them and we tu'n them and we rock them and we sound them and we temper them, and lawks, the rhythm sweet! Her name is frequently invoked by Jamaicans, especially in relation to national identity. As 'Jamaica's First Lady of Comedy' she delighted audiences in many parts of the world, and her publications have been praised internationally.