Play Groups Books

Listen to the MUSTN'TS, child,
Listen to the DON'TS
Listen to the SHOULDN'TS
The IMPOSSIBLES, the WON'TS
Listen to the NEVER HAVES
Then listen close to me
Anything can happen, child
ANYTHING can be.
~ pg. 27

I first heard about Shel Silverstein in a strange way. One of his poems is about Sarah Cynthia Sylvia Stout and LUSH beauty products has a shampoo with the same name. When I looked the name up online I found the amusing poem about a girl who never takes out the garbage.

These poems are at times laugh-out-loud funny and at times delightfully silly. There are quirky drawings throughout that make the poems even more enjoyable. One minute you are laughing and the next you are having memories of Alice in Wonderland or other books you read as a child like The Little Engine that Could. The only poem I question is "Dreadful" but I suppose some people think it is funny.

There is a place where the sidewalk ends
And before the street begins,
And There the grass grows soft and while,
And there the sun burns crimson bright,
And there the moon-bird rests from his flight
To cool in the peppermint wind.
~ pg. 64

A few of the poems struck me as especially profound while the poem about the Giraffe was very creative. After reading this collection I'll definitely look for more books by Shel Silverstein. While these poems may have been written for children they can be enjoyed by anyone from 9 to 120.

~The Rebecca Review

Nothing I could write here would explain how great of a book you are about to purchase. All I can say is... I loved it as a child and my son loves it. Stop wasting time and buy it now!!

I loved this book as a child. My kids like it. It is hilarious. The poems are absolutely hysterical and easy to remember. They are gross, silly and use fun words- is there anything better to a kid?

Buy this. Read it. Love it.

Of course, if you're uptight, think children should never laugh too loudly, then this would NOT be the book for you.

this is one of the best childrens books out there! i got this book from my dad back in the 70's. my brother and i spent hours reading the poems and laughing. i also totally enjoyed the drawings. everytime i see the book it brings back memories of the hours spent reading and looking at the pictures...for a long time! your imagination is really peaked while reading the poems. he did a great job of visualization...the drawings helped too. my favorites are, "sarah slyvia cynthia stout would not take the garbage out"

i think every child should have this book in there collection!

let me just say first off (and some of you may boo at me for this) that i am not a big fan of poetry, especially those that don't rhyme, layered with so much metaphor wrapped in some sort of old english language. those of you who can appreciate those, know i'm more than eager to submit in the "im not worthy! im not worthy!" throes. call it barbaric or just plain shallow, but i'd rather stick to the sing-songy rhymes of my elementary days.

now, saying that i absolutely loved Where the Sidewalk Ends should not be construed as a statement that Silverstein's work is shallow. piddling my knowledge might be about bodies of poetry, in whatever form, this one thing i am sure of: that though this book can be read to kids (and [gasp!] can actually be understood and enjoyed by them), it somehow still manages to deliver punchlines that could draw forth a surprised smile or chuckle from an adult--at least those not totally drowning in cynicism or morbid depression. but who knows...

a lot of the poetry here are funny (not outright hilarious, more like plain goofy), and yet come to think of it, still some of those are actually quite sad, with undertones about life and life experiences we take for granted. like the "Snowman", "Invention", "What's in the Sack?", "I Won't Hatch!", "The Garden", "The Little Blue Engine", and even the subtly poignant "Love".

whether you actively seek a moral in any of the poems or just want to go for some light reading, this book (in my opinion) is sure to leave you with a wistful feeling. exactly about what...well, i can't say. but i loved it. and for me that's more than okay.

My daughter and I have LOVED sharing Betsy-Tacy as a read-aloud. The way that the author weaves the girls' fantasies right into the chapter is a perfect illustration of just how real imaginary play is to children (or at least used to be when kids were allowed to imagine). Beware, parents: Have a hankie on hand for the Easter Eggs chapter. I had tears running in rivulets down my cheeks. The only sad thing about Betsy-Tacy is that my daughter wishes that she had a kindred spirit of her own as they do. Highly recommended!

I was introduced to Betsy and Tacy at 5 or 6 by my mom. She adored the series growing in the 50/60s. I grew up in the 70s/80s and fell in love with Betsy, Tacy and Tib. I have 3 daughters that now love these books also. If I had to name the best gift I ever received, I would name my Betsy books. I read the books at just the right time in my life. I would look forward to receiving my Besty/Tacy book at Christmas. When I had my 1st child, my mother gave me the final book in the series when Betsy also has a baby. I was overjoyed yet sad because I knew it was the end of the books.
These books were so important to me growing up that I still think of the characters often. They are wonderful classic stories of a simple time and true friendships.

B-T fans rejoice! Sutton Foster acquits herself well, and brings the characters and Maud's distinctive writerly voice alive in her reading of B-T.

Tired of reading the book over and over and over to your children? This audiobook can take over the chore. Or guarantee that you arrive at work in a good mood, by listening during your commute.

Don't hesitate, just get it before it goes out of print. Let's hope they issue more of the books on CD too.

I was recently reminded of the Betsy-Tacy books I loved so much when I was a young girl. You can not imagine my horror at seeing the current editions' illustrations of the girls, though. Part of the original books' charm was the simple illustrations. Whoever decided to change them should be ashamed. Ashamed and fired. Seriously.

Contact me if you want to join a campaign to have the real drawings returned to future editions of these timeless classics so many of us loved so much.

What a delightful book! I cannot believe I missed these books as a child; I picked them up to read with my daughters on a friend's recommendation, and they are a treasure. They remind me of so many other classic children's books -- Lois Lenski, Carolyn Haywood, Beverly Cleary, Eleanor Estes. Not only are the stories sweet and captivating, they take me back to a place where life was so much simpler. It's a return to innocence, and I loved the journey. I would highly recommend these books for little girls; they'll make new friends that they'll cherish for a lifetime.

If you can't afford the Oxford Edition of Shakespeare's complete works than this is the next best edition you can find.

This was the text for my college Shakespeare classes over 20 years ago (different edition of course) I still have it and still use it. A wonderful book for students and those who want not only the complete works but some well written and authoritative information about Shakespeare and the world in which he lived and wrote.

The texts of the plays are well foot-noted and the type is easy on the eyes. Well worth the investment.

While reading reviews of this edition elsewhere on the Web, I came across this review by David Allen White, professor of English @ the U.S. Naval Academy and editor (with Charles Boyce) of Shakespeare A to Z:

"Re-writing Shakespeare is nothing new. The Nahum Tate version of King Lear--with the happy ending--held the stage for nearly a century and a half. The great actors of the romantic age, Kean and Booth and Macready, not only spotlighted the heroes in the tragedies but felt free to beef up their roles. Directors began more than 50 years ago to monkey with the historical settings of the play, often with imaginative and instructive results. Scholars, critics, and directors have ridden various hobbyhorses through the plays for years, introducing us to Freudian Hamlets and Marxist King Lears and feminist Tamings of the Shrew.

"Recent Shakespeare production and scholarship, however, add a perverse twist to this long tradition. We no longer care what the Bard actually wrote. Years of deconstructionist theorizing have taught us that words are needy and we, readers or actors or scholars, have the right, indeed the obligation, to give them the gift of meaning--our meaning, the more bizarre the better.

"For the 23 years that I've taught Shakespeare at the United States Naval Academy, I have always used the same text, The Complete Works of Shakespeare, edited by David Bevington of the University of Chicago. Professor Bevington is an old-school scholar with a distinguished career. The book he edited had many advantages: large print, full character names before each speech, specific indications of settings, modernized spellings, solid introductions that connected the plays to the students' experience of love and politics, morality and order, passion and faith, and comprehensive but not overwhelming notes. Every few years a new edition would appear, and I would open it with interest and a little apprehension. But the changes would be minor--thinner paper (approaching the substance of tissue, a malady afflicting many recent books), hints here and there of encroaching academic perversity in the notes--nothing sufficient to make me seek another text. The 4th edition's introduction to The Tempest caused me to swallow hard: We learn there that Prospero's authority "is problematic to us because he seems so patriarchal, colonialist, even sexist and racist in his arrogating to himself the right and responsibility to control others in the name of Western and Christian values." But this is an imperfect world, and I soldiered on.

"Notified that a 5th Edition would appear this fall, I took time to examine it closely. Many of the introductions remain the same; but new editors and commentators have significantly altered others. Despite the myth of progress that reigns in all the disciplines of modern academia, "new" is often far from "improved." Apparently, Professor Bevington has either ignored the changes or allowed the young scholar-colts to have a romp. In some of the new introductory essays, especially under the guise of new brief histories of stage performance, questionable judgment, to put it mildly, has crept in. For example, the introduction to Othello ends with the following observation:

'In another recent development, Emilia has stood out in several productions as the raissoneur and heroic figure in the play, speaking as she does on behalf of maltreated women, urging Desdemona to stand up for her rights. One recent Chicago production went so far as to rewrite the ending: Othello and Iago both survive unpunished for what they have done, while Desdemona and Emilia lie dead as their innocent victims. This deliberate and provocative overstatement might seem extreme to some viewers, but unquestionably did signal the direction of recent performance history of the profoundly disturbing play.'

"It may be time to stop buying tickets to that great play.

"The current obsession in academia is "queer theory," and the homoerotic is everywhere, not just in Shakespeare studies. But this particular perversity fills the introductions to the new Bevington, especially the introductions to the comedies. Compare the following passages, the first from the introduction to As You Like It in the 4th Edition, essentially a carry-over from earlier editions:

'Rosalind's disguise name, Ganymede, taken from Jove's amorous cupbearer, has homoerotic connotations that are easily misinterpreted today. Shakespeare delicately acknowledges the suggestion, to be sure, both in Phoebe's pursuit of a young lady (but really a boy actor) in male attire, and in Orlando's courtship of "Ganymede" as though addressed to Rosalind. Yet this innocent titillation, found also in Shakespeare's source, is not meant to hint at homosexual attraction as we understand it. On the contrary, the point is that Orlando can speak frankly and personally to "Ganymede" as to a perfect friend, one to whom he can relate in platonically spiritual terms without the distracting note of sexual interest.'

"These are eminently sane and sensible remarks. Now from the Introduction to As You Like It in the 5th Edition:

'Rosalind's disguise name, Ganymede, has connotations that suggest ways in which human sexuality can be partly understood as socially constructed. If Rosalind in disguise as Ganymede wins the affection and eventually the love of Orlando, while her father and the others are equally taken in by the disguise, are maleness and femaleness chiefly matters of sartorial convention and superficial appearance? When Phoebe falls in love with Ganymede, is not her infatuation a way of showing that the roles of the sexes can be put on and off? Theatrically, the device of having a young male actor play Rosalind who then disguises him/herself as a young man adds to the witty confusion of sexual identities by introducing homoerotic possibilities. Not only can the roles of the sexes be put on and off, sexual desire itself is unstable...'

"This is ideology masquerading as interpretation.

"To be sure, the range of possible interpretations of Shakespeare's work is wide, for he encompasses all of humanity and tells profound and mysterious truths about human life. Such inexhaustible expansiveness invites discussion and dispute and differences. At the end of the Introduction to Richard II in this volume, for example, there is a brief but superb account of various interpretations of that rich role by leading actors. Professor Charles Forker of Indiana University provides that account; another old-school scholar, he knows more about that play than any other living soul. Too many of the revised introductions, however, are more interested in advancing the latest academic-political orthodoxy than in discovering and illuminating the natural and conventional moral order so abundantly on display in Shakespeare's works. Nothing is more orthodox--still--among contemporary literary critics than the alleged truth that there is no truth, that all interpretations are valid except the author's own.

"Thus Puck in A Midsummer Night's Dream can be presented as "the denizen of a drug culture, with the love potion as the weed he gleefully distributes. The experience of the forest becomes a drug-induced 'high,' for audiences as for the actors. The fairies, sometimes played by adult and hairy males, can exhibit a streak of cruelty." And, indeed, in a recent production at the Shakespeare Theater in Washington, D.C., the fairies were hairy males who carried something like miners' lights. So much for lightness and charm and magic. This same Dream introduction gives the game away in words that are echoed in many of the other essays: "These modern interpretations are arguably neither more nor less 'true' to Shakespeare's text than earlier or more 'traditional' versions. What they do demonstrate is the play's remarkable permeability and openness to differing views."

"The new Bevington retails for $90; in good conscience, I cannot ask students to fork over such a sum of cash for a book that is now rife with nonsense. So next fall I'll assign The Riverside Shakespeare, which fortunately is still in its 2nd edition. I fervently hope it is not soon updated.

"Of course, the Bevington volume has come to reflect the universities it serves, where young students pay small fortunes to be taught that there is no enduring meaning or beauty to be found in the poetry of Shakespeare, no tradition worth preserving, no "truth" other than personal whim and innovative foolery. If the price of the new Bevington is petty theft, the tuitions charged by these institutions have become, at least for the study of the humanities, highway robbery.

"I know a father who gave his son the equivalent of a year's tuition and told the lad to go to Europe, to travel, to observe, to learn for as long as the money would hold out. The young man came back after two-and-a-half years, mature and educated, and instantly found a good job. The time has come for imaginative, alternative learning. I talked recently with a very intelligent young woman who loves literature; she is completing her sophomore year at Yale, where she had hoped to pursue an English Literature major. She informed me with sorrow that she was abandoning that plan. Her reason was quite simple: she had already sat through too many classes where lunacy prevailed. She mentioned the possibility of looking at traditional Catholic convents. Could this be the first refreshing drop of a wave of the future? It would not be the first time that civilization was preserved in the convents and the monasteries. Nymph, in thy orisons, be all of Academia's sins remembered."

(Allen, David White, "An Unweeded Garden," The Claremont Institute, http://claremont.org/publications/crb/id.959/article_detail.asp [originally published March 22, 2004])

I guess it's safe to say that, based on his review, Professor Allen'd give this edition 1 star...right?

I purchased this book as a birthday present for a graduating high school student who is a big fan of Shakespeare.
This volume has a lot to offer to both students and casual readers. In addition to very readable text of all the plays and sonnets, the fifth edition provides historical and literary context, including drawings and photos, as well as insightful essays on each of the plays. The essays include background, plot summaries and discussion of major themes and would be very useful to anyone seeing a play, especially for the first time. The helpful glossary is extensive, so the reader doesn't have to look up unfamiliar words or feel intimidated by the language. Professor Bevington's fifth edition of the Complete Works is a gem, authoritative and attractive. The birthday girl thinks so, too-- she gives it an A+.

This is truly a great book. Not only does it contain all of Shakespeare's works but it also has an enormous amount of information. There's a little bit on his life and a bit more about the theater during his time. There are also some great drawings in the beginning of the book.

I have been teaching for awhile but this book is great for new and experienced teachers and excellent for college students studying courses in child development curriculum. It is broken down alphabetically by themes. Some examples include-seasons, holidays, ants, just to name a few. At the beginning of each theme there is a parent letter that explains what will be happening in your class. Then for all aspects of your students learning, the subject is broken down into different areas that support ways to implement the material- songs,fingerplays,math,science,language(supporting stories), art activities etc...
Overall, a great resource for early educators-especially if you run out of ideas!!!!!

This book is a great resource for teachers. It has wonderful ideas in it.

This book was purchased as a classroom requirement for my daughter's community college course. As a teacher, I don't generally buy resource or idea books, but this is a good one for the beginner or someone who does not have the time to search for ideas. Although it is costly, its a better investment than numerous small books. I feel that the way that the author chose to organize it could have been better; so be sure to read through the entire book as ideas for what you're looking for may be hidden under other topic headings!

I am a stay at home mom and have used this book to help keep my toddler busy. It is great. Every theme has activities for all areas of learning and has great book/DVD/website resources. If it's this great for a parent - it would be wonderful for a teacher!!

This is a great book. Used it as a college student, and kept it handy in the classroom like a bible. Great stuff!!!

The product was great and Woody's book store communicated great through email about the purchase and ordering information. The only thing is the number of days that it took to ship was confusing; I thought it would get to me sooner, but what the number of days meant was when it would be shipped as opposed to it arriving to me.

This is a great book. Inspiring, entertaining, hilarious, and real. Mark doesn't pull any punches in this. It is not a self-pity book nor does it try to lecture the reader. It is a real account of someone who is very inspiring, yet doesn't pretend to be what he isn't.

Once I started reading this I couldn't put it down. Awesome!!!

Mark Zupan makes you think about what you have, not what you do not have.

He may be in a chair, but he is not handicap. Mark Zupan speak frankly and openly about his life before and after. He does not blame anyone for his injury.

Make you think you life is O.K. and despite what happens you can survive and go on.

Life is not so bad.

Sometimes, people who have been "handicapped" in some manner end up withdrawing into themselves. A few of them are downright miserable. Mad at the world for being stuck in the situation they're in... the best they can hope for (because they're depressing to be around) is to have people feel sorry for them.

Mark Zupan (who, hopefully, you know from the astoundingly-good, and deserved-to-win-the-Oscar documentary, MURDERBALL), is NOT one of those people. He doesn't WANT anyone to feel sorry for him. (In fact, he doesn't even want to be seen as a "role model," or an "inspiration," though [sorry Mark!], to a lot of people, he is.)

Mark was an athletic, fun-loving 18-year-old, having a blast in South Florida when everything he knew changed in an instant. Sleeping off a night of heavy partying in the back of his buddy Chris Igoe's parked pickup, he had no clue when his friend got in and (also drunk) drove off. Not too long thereafter, Igoe swerved off the road and Mark ended up flying out of the truck-bed, over a fence, and into some dense foliage overhanging a small lake. (Igoe had no idea Mark was in the truck bed, so when the police came, they never looked for him.)

Mark regained consciousness, only to find himself unable to move (he didn't know it yet, but he was paralyzed from the neck down), hanging upside-down from a branch with his nose just inches from the water... and getting closer by the moment. He hung there for 14 hours, before a workman heard him yelling for help.

And that's just the START of the story!

In the years that followed, he has not only become one of the star players of the sport known as Quad Rugby (a.k.a. Murderball), his attitude about his "situation" (whether he likes it or not!) has helped untold numbers of others* to better cope with their own situations.


* I know of what I speak. My young and lovely wife has been in a wheelchair for several years due to Multiple Sclerosis. After seeing the movie MURDERBALL --and *especially* after meeting Zupan at a tournament, her attitude went from "good" to fantastic. She's no longer "the girl in the wheelchair." She's simply my wife, who's fun to be around, and who's interested in doing the things she CAN do, rather than fretting about the things she can't.

-Jonathan Sabin

A fast paced, gritty look into an Athlete's brush with death and the long road to recovery. If you are looking for the next inspiration for a cheesy After School Special on overcoming adversity...don't read this book. If you are looking for a well written, insightful look into how one guy copes with tragedy and disability, then this is an excellent read. To say Gimp has texture is an understatement thanks to its subject, Mark Zupan, a quadriplegic athlete who was made famous by the documentary Murder Ball. Gimp details how this proud, perhaps arrogant athlete dealt with a tragic accident that cost him the full use of his limbs thanks to drunken night that resulted in a brush with death and a debilitating spinal cord injury.

Gimp does not spare us the details that are often left out of such stories including the uglier side of human emotion. The books subject faces Zupan's denial, doubt, guilt, fear, despair and loss as a result of his tragedy. While he ultimately comes to terms with his injury and recovery, it is not without some serious setbacks, some self inflicted. It is this part of writer Timothy Swanson's writing that really sets Gimp apart. He does not spare Zupan some hard looks into his darker nature to include arrogance, self indulgence and outright self destructiveness at times. If there is a villain in the book, it is Zupan himself and his own feelings of despair and anger. It is Swanson's description of Zupan's struggle with his own dark feelings and fears that give the story its power.

The book is not without its own sense of humor and offers a dark amusement that Zupan has for the hand life has dealt him. Gimp deftly shows Zupan's outlook on life which is headstrong and confident but not without his fair share of hidden frailty in the face of a near death experience. In fact, the description of the actual accident that describes Zupan clinging to life, literally perhaps, is the book's strongest section. I have many friends who suffer from war wounds, especially brain injuries from IED's or "danger close" air strikes and I can say from personal experience that Gimp does an excellent job at looking at how proud warriors (in Gimp's case a world class athlete), deal with injury and recovery. I recommend this book without reservation to certainly anyone who knows someone who suffers from a disability or who has seen the documentary Murder Ball. The book has broader appeal to fans of sports writing as well since the book leaves no doubt that Zupan is an athlete. The fact that it is an easy read and has a brisk pace is no small feat given that other works of this genre tend to drag on, lack direction and are often burdened with sappy and clichéd, touchy-feely housewife book club nonsense. Zupan's force of will as described by Swanson carries the book along as does the suspense of how he will cope with each stage of his recovery and his entrance into the world of quad rugby aka Murder Ball. I thought it was a great read and recommend it without reservation.

When I went and saw "Assassins" for the first time, I honestly wasn't sure what to expect. I've been a Sondheim fan ever since I began watching "Into The Woods" at the tender age of four years old... but I don't think I was sufficiently prepared for "Assassins". And that's a good thing.
"Assassins" keeps you on your toes throughout, being able to make dramatic changes from the light-hearted to the tragic in the time it takes to bat an eye. Perhaps most striking is how you come to like and sympathize with every one of the assassins, while still knowing that they all have their dangerous streak.
Moreover, "Assassins" deals with a common subject in a very uncommon way. The overall 'theme' says "Everybody's got the right to be happy." The brilliance in this statement is not in the statement itself, but within the context of the cold-blooded murderers with it has been placed. It gives us the lesser seen perspective of life from the point of view of these historical figures who had major problems with their lives and with themselves. Rare, even in the history books.
In fact, "Assassins" has been a better history lesson for me than nearly anything else. The play is very highly based on the facts of every person's life and the details of their assassination attempts. Good for theatre buffs and history teachers alike.
Go Sondheim, go!

Well, I was not very well aquainted with Sondheim, though I had heard of him. Then I was fortunate enough to be cast as Sam Byck in a production of Assassins. I have to say, the show was an experience like I can only hope to have ever again. Weidman's writing brings to life thoroughly disturbed characters in a way the audience can relate to. It shows us the world of a psychopath- looking out from the inside. My first thought was to question whether I could do justice to the material. The incredible intensity of the scenes and the forceful emotion of the songs is nearly overwhelming. From the actor's point of view, I can say only that a sense of desparation is omnipresent, even in the comedy, and that there is the feeling of a great injustice, and perhaps an epiphany that never quite came. I encourage anyone who can to try and acquire a copy of the London production( I don't know if there are any official ones, but as any theatre enthusiast knows, there are ALWAYS bootlegs), or of the new production when it becomes available, because of the added song "Something Just Broke". This incredible piece serves as an important... I think the word is catharsis. I remember crying backstage during the first show, because it put a sharp point on the events of the previous scene, where Oswald takes his shot. The play itself also brings into focus the background of the assassins, and those lesser-known souls who tried and failed( like Byck). While it won't appeal to everyone, it is definitely worth looking into for Sondheim lovers and US History buffs. And serious performers will find the songs and text rich with meaning. I recommend this show, libretto and music, to anyone with an open mind, or a love of art.

I profess to be of a young age, and those who don't know me would probably consider my experience with musical theatre to be rather inextensive. I am, however, even at a young age, a Stephen Sondheim admirer. Yet even I, whose favorite musical is the ghastly and mind-numbing masterpiece "Sweeny Todd," was not entirely prepared for the unabashed "Assassins."

Assassins combines all the would be and have been presidential assassins of the United State's history and throws them all into a timeless world where Charles Guiteau (Garfield) can chat with Leon Czolgosz (McKinley) and Sam Byck (Nixon) at a bar while John Wilkes Booth (Lincoln) reads a copy of Variety magazine. It is more of a revue than anything, but the music (which you MUST own if you're going to buy the libretto) is so moving and so powerful it actually is able to draw sympathy for Lincoln's assassin. If the prospect of feeling pity or sympathy for Lee Harvey Oswald makes you angry, Assassins is not my recommendation.

Indeed, Sondheim and Weidman sucessfully made me feel sorry for Leon Czolgosz and Booth and Oswald and nearly all the characters in the musical. Some may think it unpatriotic; I think it presents the other side to woefully biased history lessons claiming the Assassins to be vengeful madmen searching for chaos. Assassins truly brings to light what's wrong with the American dream, and for any history buff, Sondheim fan, or just plain theater fan, Assassins is a MUST have.

All I can say about this play is that it is sheer genius. I was fortunate enough to see the Broadway revival cast act it out in Studio 54, thus can safely say that the play is just as shrewd and clever onstage as it seems in the play.

The thing that often repels people from 'Assassins' is firstly its subject matter - assassins and would-be assasins of presidents of the United States - and secondly, the way it handles its subject matter. 'Assassins' neither trivializes nor glorifies its characters: what it does is examine them, and let the audience make the decision as to what prompted them to commit the crimes they did. On stage, the play is chilling - seeing "Squeaky" Fromme carve an 'M' for 'Manson' into her forehead at the end of her number with John Hinckley 'Unworthy of Your Love' does not seem disgusting; it is entrancingly horrific. And this is not even mentioning the song 'How I Saved the President', the fast-paced narrative of Giuseppe Zangara's attempt on the life of President Franklin Roosevelt: it rises to an eerie feverish pitch and ends with a jolt - literally. The singing ceases only when Zangara has been electrocuted.

I realize that the above description may seem to portray 'Assassins' as a gruesome horror-trip into history - but really, that is not what it is at all. The rises and falls of emotions in the songs (apparent in the book as well as in the play) are shrewdly placed so that the viewer can't quite bring themself to feel sorry for the assassin, exactly, more fascinated. And this is what 'Assassins' is - a fascinating look at some of the most forbidden American taboo in our country's history. The play jumps on its subject matter with surprising gusto - it does not jump delicately from point to point. It attacks its topics and does not let the audience leave unshaken.

I feel as though I should probably mention that reading the book and seeing the play live are two different things. They are both thought-provoking and interesting looks at the various assassins - but a certain emotional element is lost in the text. Not that the book is bland and dry - far from it. However, seeing Charles Guiteau dance his way up to gallows feverishly reciting his poem 'I Am Going to the Lordy' is slightly more morbid than reading it.

Highly recommended.

This review is by Crosley.

I had become very well acquainted with the score to Assassins before I read the script, and I think John Weidman may have done the impossible: he may have overshadowed Sondheim's score with his book. Don't get me wrong, the music and lyrics are phenomenal, but the book is what really matters in this one.

Assassins is an examination of the dark side of the American Dream and those it has affected, namely, those who have tried to kill presidents. Most of the assassins actually have good reasons for their efforts. The play has gained a lot of bad publicity for "glorifying assassinating the president," "being unpatriotic" and "trivializing terrible events." The play does none of these on any level. I said that some assassins had good reasons. I did not say that their actions were the right thing to do, because they weren't. However, the play rehumanizes people that society has dismissed as one dimensional madmen. Hence, the Balladeer. The Balladeer represents the traditional, one sided view of the assassins, and is used expertly. The play keeps in mind the fact that the assassins are dangerous people who should be condemned, but it also keeps in mind that they are indeed people. The scene between Csolgosz and Emma Goldman is wonderfully poignant, and allows us to see a side of Csolgosz rejected by the world, and it's things like that that make the characters much more real.

By making the characters real and at least vaguely sympathetic, the play succeeds in such a way that could never be done with demonized characters. Since the assassins are made human and just like us, Americans trying to live The Dream, they are infinetly more terrifying and frightening, because now we can identify with them, and see the clear and present danger in America.

They all have different motives, but there is one thing that ties them all together. They thought The Dream was not a goal, but something they were entitled to, and when they didn't get it, they wanted people to listen. Hence, drastic measures. Booth's anger with Lincoln is very real, and the crimes he lists against Lincoln are all true to some degree. Csolgoszs' anger at the working man's plight is completely justified, considering his working conditions and wages. Few of them have motives that we can't understand (except Moore and Guiteau), and again, they are that much worse because of it.

This is not to say that the play is not funny. Au Contraire, Assassins is one of the funnier plays I've read, mostly because it preys upon the assassins' character flaws and quirks and exploits them for some great comedy. They're even funnier if you know about the personalities of each for whatever reason. For example, regarding the scene where Guiteau hits on Moore, it was known that Guiteau hit on anything with two legs (usually unsuccessfully), and Moore, who had been married five times (each husband was more successful than the last), may have been roped in by Guiteau's line of "How would you like to marry the ambassador to France?" It's really quite good. The scenes between Moore and Fromme are priceless, as are Byck's rants into his tape recorder, hamburger in hand. "I am Unworthy of you Love" is a gorgeous song, and in context (being sung to Jody Foster and Charles Manson by John Hinckley and Squeaky Fromme, respectively), it's uproarious. Thank God for Weidman's wit, because this is a show that definetly needs comic relief.

The interesting idea that the play presents is that the assassins are just as American as anyone else, because America is "The land where any kid can grow up to be president," and likewise, "Any kid can grow up to be his killer." Comedy, tragedy, laughs, tears, a message, great music, Assassins has it all. The scene near the end with Lee Harvey Oswald is one of the most powerful scenes I've ever read. In fact, it was recorded on the soundtrack, because it's just that important. Delaying Oswald's appearance for so long was a great move, because the audience, after being emotionally assaulted by the other 8 assassins, is finally pushed over the edge with an event that most of them were alive for and remember. The triumphant chords after Oswald's shot give me shivers every time I hear them.

Assassins is a phenomenal play that unfortunately is rarely produced. I recommend reading the script and enjoying the excellent score to people looking for something a little different (hey, that's Sondheim for you), a little funny, and a little scary. The show will live on because of its relevance, and it's a wonderful addition to the American Musical Theater.

The pray and Play Bible has a great lessons for preschool age children. All of these lessons can be used in whole or in part. Great resource for anyone in christian education.

The art is fabulous. The Bible stories are entertaining and age appropriate for preschoolers. The songs, games, prayers, and activities that go along with the Bible stories make it so easy to have a lesson that engages every preschooler in REAL learning. I am so thankful that I have this amazing resource because I use it all the time.

This is a preschool Sunday School leader's dream resource for those days when you need a little something extra. It is also PERFECT for a substitute leader! The bright, colorful pictures totally capture the children's attention and each story is followed with many easy to learn songs, prayers and lessons that anyone could lead at the spur of the moment. The activities are very interactive and designed specifically with preschoolers in mind.

Our Play and Pray Bible arrived today, and we are already enjoying it very much! The large size of the book is appealing, as are the brightly colored illustrations. There are activities to extend each Bible story, and we have been singing lots of the songs tonight. (These are sung to familiar children's tunes, and they caught my daughter's attention right away.) I also teach 4-year-olds in a Christian preschool, and I teach 3's and 4's in Sunday School - I'm looking forward to using this book in those settings, as well as at home!

I liked this so well I bought the second one (Pray and Play Bible 2).
I am a Sunday school teacher for young children and was looking for stories that kept the children's interest. So often the Bible story books say they're for young children, but are either over their head or very boring.
I also bought this for my 3 yr old niece and it's one of her favorite books.
A quality product I don't think you will be disappointed with.
Oh, and I almost forgot to mention, at the end of the stories are suggested songs and activities that are very do-able.

"How to Write a Screenplay" is a superb guide to the craft of cinematic storytelling and the process of rendering that story into the standard screenplay format. The book also includes detailed guidance on the pitch and development stages of the screenwriting process. Schwartz effectively delivers his lessons because "How to Write a Screenplay" seamlessly marries form and function. The book itself is in the form of a screenplay, and therefore serves as an ongoing example of the points it presents. This is an extremely effective pedagogical approach because the reader's attention is not divided between separate narrative text and examples, but fully engaged at any moment in an interesting story that illustrates its points in concrete terms.

In the introduction to his book, Schwartz states he has seen the quality of his screenwriting students' work dramatically improve after utilizing this approach; I have no doubt that this has been true for him, and will also apply to those who read his excellent book.

This is by far and away the best book I've read on screenwriting. It's really insightful, informative, and entertaining. I found myself laughing while learning! As others have noted, this clever little gem is a fast and fun read, a how-to book that is actually written in the form of a character and story-driven screenplay. Like a good movie, I kept turning the pages, wanting to "see" what would happen next. Before you get to the feature length screenplay (titled Screenwriting for the Hell of It!),it has a funny short script about pitching, and takes you by example through the steps of development. I can see why a great director like Wes Craven recommends it. Very cool!

The latest edition of HOW TO WRITE: A SCREENPLAY appears in its revised, expanded edition to add a chapter on 'The Pitch' and features a screenplay-like format which sets it apart from others on the market. Danny, the hero in this story, is hopelessly in love with a star who won't date him until he proves he can write an outstanding screenplay for her. Learn the basics of writing and marketing a screenplay through a format that lends to lively insights: perfect for any public library or school collection catering to aspiring screenwriters.

Diane C. Donovan
California Bookwatch

The addition of a section on "pitching" in Mr. Schwartz' Second Edition is the icing on the cake of his excellent guide to screenwriting. Having worked inside the studio system for several decades as a story analyst, development executive, and producer, I've seen many cases where a screenwriter had a good story and/or script but failed to sell it because he/she blew the "pitch." As he did with screenwriting in the First Edition, Mr. Schwartz provides the keys to successful "pitching" in his user-friendly format: keep it simple, clear and entertaining. I will continue to recommend Mr. Schwartz' book to writers, producers and development execs as a very useful tool in developing, and NOW in selling screenplays.

In summary, like a good movie, this is highly entertaining and educational!
There, now that that is out of the way, let me say I was initially skeptical about this book and its overwhelmingly good reviews. The reason is a character flaw (I think): I don't trust positivity.

However, it wasn't too expensive and Amazon would ship it to me in record time so I thought, what the heck and ordered it. It's a small book, and I was expecting it to be. After all, it's in the format of a screenplay and those shouldn't be more than 120 pages or so, right?

On starting to read, straightaway, I was hooked. The story used is a bit corny, but--I couldn't believe it!--I wanted to know more: what did Virgil want? Who was the stranger in Bebe's apartment? Does Danny finish the screenplay? And right along with all that, I was actually learning about structure, character, theme, dialog and exposition; all in a way I never would have thought possible.

And at a speed I never thought possible either! I was learning how to write a screenplay and how to make it interesting and watchable, without the impediment of translating jargon and quasi-indecipherable jibber jabber. I blew through it in less than two hours and I thoroughly enjoyed every minute. One of my highest recommendations and kudos to the author for finding a pleasant, funny, and incredibly insightful way of transferring knowledge.

Herald Loomis says this to his estranged wife in the final scene of this play, set in a 1911 Pittsburgh boarding house.

The play was first performed in 1986, and it is part of August Wilson's ten-play tetracycle about African-Americans in Pittsburgh during each decade of the 20th century.

Charles S. Dutton and Delroy Lindo played the role of Herald Loomis in the early productions of this play. Loomis is a 32 year old man who is looking for his wife, whom he lost touch with after he was put on Joe Turner's chain gain in Memphis for seven years.

Seth Holly is the 50 year old owner of the boarding house in which Loomis and his daughter stay (along with Holly's wife and a number of other residents). Seth is both practical and skeptical (of people, banks and society): "Anybody liable to do anything far as I'm concerned." (2.1)

It's a story about identity and relationships. Bynum, the 60 year old mystic who lives in the house, sums it up well: "Seem like everybody looking for something."

Herald Loomis is looking for himself.

We lost a great playwright when August Wilson died a few years ago. And the greatest contribution to theatre was the chronology of 10 socially critical plays. August Wilson's plays contained a lot of dialogue, with great monologues, that drove the plight of African Americans.

As Joe Turner is from the second decade of storytelling, you can begin with "Ma Rainey's Black Bottom" which takes you to the world of black musicians in the 20s. Explore the chronology of August Wilson.

Joe Turner's Come and Gone is about the disconnect from slavery and the search for their identity and place in America.

The setting for "Joe Turner's Come and Gone" takes place in a boarding house where owners Seth and his wife operate with strict rules for the many transients. Joe Turner is NOT a character in the play, but a man who enslaved Harold Loomis, the main character, for years. Now Loomis tries to find his wife. This is a wonderful story with folklore, blues, spirituality, search and identity, which is metaphorically referred to as a "song". ......Rizzo

August Wilson, a Pulitzer-Prize winning playwright captures the essence of the African-American experience of slavery, migration, and the quest for an identity. These themes are part of the written slave narrative, from which the African-American literary tradition was born. In "Joe Turner's Come and Gone", Wilson brings the struggle of migration from the agricultural South to the Industrial North to light; set in the early 1900's when this great migration had just begun. The quest for self/an identity is one of the many scarring ramifications of slavery, and the result of namelessness. Wilson, is able to capture this central theme through religion, allegory, and music-Jazz/Blues. The quest for ones identity is rooted in the metaphorical use of the quest for a song. Songs mean different things for different people; they touch people in different ways. Why? Because each individual is unique, each individual has a song, an identity. With the historical culture of the African-American, and its connection to Music, this collaboration of rhythms and imagery proliferate the importance of this quest to life. Wilson, like Toni Morrison, offers his work as an illustration of the Blues Theory of Art-the idea that music has the ability to reach deep into the soul, and pull from it the raw feelings that may otherwise be unreachable. Music goes to the core of ones being, and helps the healing process. With Loomis, this was evident in the search for his song, his identity, it was all part of the restorative process, yet a consequence of America's greatest shame-Slavery. I must say that "Joe Turner's Come and Gone" in a wonderful way, using symbolism, folklore, and like Jazz, a non-written form of art, serves as an anchor and captures the heart of the African-American experience.

The title "Joe turner's Come & Gone symbolizes the American socialized system of oppression. Joe Turner is "the Man", Joe Turner is jail, and oppression. In this play, Herald Loomis has been detained by Joe Tuerner for seven years. Upon his release he searches to find his daughter and his wife while all along he has been searching for his inner self.
Bynum Walker is a "Rootworker", one who practices unconventional spiritual worship. He lives in the boarding house an tells a story of a shiny man who has the secrete of life. This secret that he refers to, the secret of life, symbliizes the meaning of all in existance and most impoprtantly the knowledge of self. Joe Turner, "the Man", "the system", and American society have stripped, robbed,and raped the African American of self. It is this quest for idenity that Herald Loomis searches for within himself. This same quest is also found in all of the other characters in the play as well. Those that come to the boarding house are unstable and have not found their true selves. Even Seth and Bertha, the owners of the house also quest for their idenity. They have a better financial system than the others, but they are stil timid when they encounter white America. Seth constantly states the rules of the boarding house. He proclaims to operate a clean, safe, and respectful house. He feels that any other behavior would call too much attention to him and his home. Resulting in white American society to take oppresive actions against his achievements.
Joe Turner's Come & Gone is an excellent concept that spiritually looks at the concept of knowing ones-self. August Willson's use of quest for idenity among all his characters allows the reader to unmistakenly find a connection with their own secret song to sing.

"Joe Turner's Come & Gone" is the first play of Wilson's that I've read. I finished the play the week before his death. As a Pulitzer Prize-winning playwright, many have obviously already recognized the quality of Wilson's work. "Joe Turner's Come & Gone" won the Tony Award for Best Play in 1988 with L. Scott Campbell winning the Tony as Best Featured Actress in a Play for her portrayal of Bertha Holly. Set in a Pittsburgh boardinghouse in 1911, the play is part of Wilson's cycle of plays. Seth Holly is a no-nonsense man who does not allow any shenanigans. His wife Bertha cooks and tries to soften Seth's hard edges. Seth makes dustpans and coffeepots out of metal for travelling salesman Rutherford Selig, who is the lone Caucasian in the show. The show is populated by a series of characters including Jeremy Farlow who is a young guitar player who longs for a girl. Molly Cunningham and Mattie Campbell fill the bill. Herald Loomis is an ex-convict who was incarcerated because of Joe Turner. He got out of prison and found his daughter Zonia. (I think I remember the character was named after Wilson's mother.) Herald, as his name might imply, has a spiritual mission to locate his wife. Loomis employs the peddler Selig who makes extra money by finding people whose names he records as he makes his rounds selling his wares. Angela Bassett played Martha Pentecost who has changed her name from Martha Loomis and is eventually reunited with Zonia. Bynum Walker is also a mystical character who has stories of the shiny man. The play's action flows together organically with great tension and humor. The otherworldly mystical elements imply both spirituality and superstition. The play is an interesting reading experience that makes you wish you'd been able to attend one of the 105 Broadway performances! Enjoy!

Excellent book. EXACTLY line for line from the musical. I highly suggest reading "Spring's Awakening" along with this. It is the original version of this play that the musical is based off of.

This is worth it if you are a Spring Awakening fan. I saw it on Broadway a month ago and absolutely fell in love with it.

Not only was it delivered ahead of schedule, but it was in perfect condition. I almost didn't want to take it out of the wrapping!

Steven Sater's new approach to "Spring Awakening" was suprisingly refreshing. The text was much easier to follow compared to the original version of the play.

But when I first picked it up I thought: How in the world do you make a musical out of this? But I have got to admit his post-modern twist on the play using the music to enchance the inner workings of the characters and not the story really worked!

The play ,although written quite awhile ago, still has issues and characters that audiences today can relate to. It's a great play that any reader will finish off quickly. Trust me; you're not going to want to put it down.

I couldn't put it down when I first recieved it. Spring Awakening, is an amazing adapation of Wedekind's, Spring's Awakening first written in 1899. I own the original by Wedekind, and really appreciated how Steven Sater was able to maintain the integrity of the original while adapting it to a new libretto. When I read the lyrics of the songs in context to the story, I am nothin short of amazed. My recommendation is to read the script, and utilize the soundtrack at the appropriate times. It really enhances the experience. This book and play alone is magnificent, but coupled with the music of Duncan Shiek it is a masterpiece.