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Dustin is a drama geek--and proud of it. Though he's at least half-nerd, and full of insecurities, he doesn't melt in the face of conflict--like when the sixth grade play he's assistant-directing and starring in, The Castle of the Crooked Crowns, seems doomed to failure at every turn. Then Jeremy Jason Wilder, international star of Dustin's favorite sitcom of all time, moves to Buttermilk Falls. Is it a blessing--or will Jeremy steal the show? Dustin Grubbs: One-Man Show is full of hysterical one-liners and slapstick that middle graders will love. And yet there's a deeper level beneath the "show" that will resonate with young readers--such as Dustin's difficult choice between a new and old friend; the guilt he feels for blowing off his adoring neighbor; his crush on his schoolteacher; his love for yet embarrassment about his oddball family; and Dustin's curiosity about--and longing for--his absent father.
A reprint of the 1984 original, in which mime Kamin examines Chaplin's performance techniques. Foreword by Marcel Marceau. Annotation copyrighted by Book News, Inc., Portland, OR
Bernard Perlin was an extraordinary figure in twentieth century American art and gay cultural history, an acclaimed artist and sexual renegade who moved in the upper echelons of New York's glittering gay society of the 1930s, forties, and fifties, as well as its underground. In One-Man Show, Michael Schreiber chronicles the storied life, illustrious friends and lovers, and astounding escapades of Bernard Perlin through no-holds-barred interviews with the artist, candid excerpts from Perlin's unpublished memoirs, never-before-seen photos, and an extensive selection of Bernard Perlin's public and private art.
A compelling, incisive and thorougly entertaining biography of comic genius Barry Humphries Barry Humphries is perhaps the greatest comic genius of our age. Satirist, comedian and burlesque entertainer, he enthrals audiences across the globe. As housewife megastar Edna Everage, he savages-and enchants-all in his path. His shambolic diplomat, Les Patterson, shocks and titillates, while Sandy Stone, poignant chronicler of suburbia, can bring audiences to tears. Yet Humphries, the man, remains an enigma. In his fifty years performing, he has avoided scrutiny of his true self-and the influences that help shape his characters. ONE MAN SHOW examines the life, and the aspirations, of this enormously talented artist. From his youthful pranks on the staid streets of Melbourne, the phenomenon that was Barry Mackenzie, and the dark years of alcoholism, through to his successes on television and Broadway, this finely drawn portrait reveals the truth of Humphries' world. It is the definitive story of a mysterious individual and his theatrical magic.
Harry Clarke is the story of a shy midwestern man who feels more himself when adopting the persona of cocky Londoner Harry Clarke. Moving to New York and presenting himself as an Englishman, he charms his way into a wealthy family’s life, romancing two family members as the seductive and sexually precocious Harry, with more on his mind than love. With his spellbinding and emotionally nuanced storytelling, Cale has created a riveting story of a man leading an outrageous double life.
Fired from his skiffle band, Francis Henshall becomes minder to Roscoe Crabbe, a small time East End hood, now in Brighton to collect £6,000 from his fiancee's dad. But Roscoe is really his sister Rachel posing as her own dead brother, who's been killed by her boyfriend Stanley Stubbers. Holed up at The Cricketers' Arms, the permanently ravenous Francis spots the chance of an extra meal ticket and takes a second job with one Stanley Stubbers, who is hiding from the police and waiting to be re-united with Rachel. To prevent discovery, Francis must keep his two guvnors apart. Simple. Based on Carlo Goldoni's classic Italian comedy The Servant of Two Masters, in this new English version by prize winning playwright Richard Bean, sex, food and money are high on the agenda.
Anthony Rapp's first audition for the workshop production of Rent begins a journey that takes him all the way to Broadway as the star of the Tony and Pulitzer Prize-winning musical, experiencing tragedy, loss, and enlightenment along the way. When Rent's brilliant young creator, Jonathan Larson, dies suddenly of an aneurysm the night before the show's first performance, Anthony and the rest of the cast are devastated and open the show that night only to friends and family, performing a tribute to their dear friend and gifted artist. Shortly thereafter, Anthony's mom receives a devastating cancer diagnosis and during the Anthony's first year on Broadway as Mark in Rent, he makes frequent trips to visit her, hoping for her to come to terms with his being gay, as he comes to terms with her impending death. With atmospheric, nostalgic flashbacks to his childhood in small-town Joliet, Illinois, he shares his first experiences discovering his sexuality, the tension it created with his mother, and his struggle into adulthood to gain her acceptance. This is a beautiful, haunting memoir of the world of theatre, the love of son for his mother, sexual awakening, and maturity won at far too early an age.
"If I could work my will," said Scrooge indignantly, "every idiot who goes about with 'Merry Christmas' on his lips, should be boiled with his own pudding, and buried with a stake of holly through his heart. He should!"In this cleverly abridged version of Charles Dickens' heart-warming story of the mean-spirited and curmudgeonly Ebenezer Scrooge who is transformed by several ghostly overnight encounters, the narrative has been adapted for use as a solo theatrical performance. This is a terrific one-man show that can be enjoyed by people of all ages."I have endeavoured in this ghostly little book, to raise the ghost of an idea, which shall not put my readers out of humour with themselves, with each other, with the season, or with me. May it haunt their houses pleasantly, and no-one wish to lay it." So said Charles Dickens in the preface to A Christmas Carol, when it was first published in 1843. Now it can be performed for a whole new generation to enjoy, in this captivating and involving one-person adaptation by professional theatre producer Derek Grant.
You’re six years old. Mum’s in hospital. Dad says she’s “done something stupid.” She finds it hard to be happy. So you start to make a list of everything that’s brilliant about the world. Everything that’s worth living for. 1. Ice cream. 2. Kung Fu movies. 3. Burning things. 4. Laughing so hard you shoot milk out your nose. 5. Construction cranes. 6. Me. You leave it on her pillow. You know she’s read it because she’s corrected your spelling. Soon, the list will take on a life of its own. A play about depression and the lengths we will go to for those we love.
Writer/director Robert Orlando, locked down during the Covid-19 pandemic, learned Citizen Kane was Trump’s favorite film, and the parallels were astonishing. Both Kane and Trump are swaggering masters of media, and both claim to stand for the working man. “Orson Welles, the boy genius of Kane, was possessing me from the grave,” states Orlando. In Orlando’s acclaimed documentary Citizen Trump, we witness Trump, like Kane, trying to escape unglamorous beginnings. A decades-long effort to rise as aspiring Hollywood mogul, real estate player, darling of gossip columnists, casino owner, dabbler in politics, and reality TV star. Each new stage was a rehearsal for his role as president. In this follow-up to the film, Orlando takes an even deeper dive into the nature of Trump’s background as an entertainer—and how it led to the miraculous upset of Clinton and his rise as president. Truth-be-told, Kane was crushed by scandal; Trump was not. He triumphed above front-page divorces, bankruptcies, unprecedented media attacks, and political chaos. Did his failed attempt at re-election end his star power? Citizen Trump gives us our looking glass. “Filmmaker Robert Orlando probes some of the secrets of Trump’s obsessions, and finds answers in what the president has described as his favorite film [Citizen Kane]…. Striking, very watchable. Fascinating film!” —Michael Medved, Movie Critic “Robert Orlando’s 2020 documentary shows Trump’s favorite film is a road map to his methods.” —Joseph Serwach, Medium “To do so, he tells President Trump’s life story in the cinematographic style of Citizen Kane, incorporating the iconic snow globe, the campaign poster, and even the mysterious word (‘Rosebud’) that is central to Orson Welles’ masterpiece.” —Gabriel Andrade, Merion West “Through the lens of the 1941 classic Citizen Kane, a documentary filmmaker seeks to understand the life journey of President Trump and his successful venture into politics.” —Josh Shepherd, The Federalist “This is the fascinating parallel that inspired Robert Orlando. The film is remarkable—truly in the literal sense. It’s visually engaging, if not riveting.” —Paul Kengor, The American Spectator