Theatre Books

This book was everything I expected. It came to me quickly and I was very pleased with the condition of the book.

Joyce Morgenroth's work, aptly titled Speaking of Dance, allows us the pleasure of actually hearing the voices of the choreographers and, in a very real sense, seeing their work. This simple integrity of purpose may be a large part of what makes the book so eminently readable. The author signals us with her first introductory words, "Watching dance..." that we are in for a journey from audience point-of-view. Then, Morgenroth neatly take us to the source, her interviews with twelve well-known choreographers. What different sources they turn out to be!

Speaking of Dance lets the choreographers tell their stories with the full flair of their personalities. I get who they are without being spoon-fed. They speak in their twelve highly individuals styles, just what you hope for from contemporary titans in the dance world. (No doubt much clearer sounding than some of them actually articulated before Morgenroth edited for us.) In speaking they let us into their world. How much each captivates is illuminated almost as much by how they present themselves, perhaps who they are, as by what they have created on the floor...and, in some cases, off the ceilings, on the walls, with the music coupled with each artist's internal vision. In every case I learn

I like this book alot. In the introduction, we hear the voice of Joyce Morgenroth, author and interviewer. An auspices start. The writing is smart and lively. Morgenroth loves dance, has a keen eye for details, and lots of questions.Through the intro, her energetic and easy writing makes her feel close... and she is willing to take us along into the kitchens and lofts to speak with dancemakers about the alchemy of choreography.

First stop, though is a short history of modern dance. We get facts but Morgenroth concentrates on the catalysts that led to explorations. She places each of the artists in the book in context.

The interviews start with a short bio but the heft is the voice of the artist. The pieces are spontaneous and intimate and also well-structured. The artists' stories of their histories are funny and human. No matter how well known, it is clear that each artist is still deeply involved with the process of making work.

I teach dance compostion and after reading Speaking of Dance realized what a priceless resource this is for young people making art. We can't give them a formula, just tips and the courage to get out there and try.

This book supports that idea completely.

This book was written in clear language. It was helpful to me as a novice.

Aaron Shepard is a generous contributor to the field of Reader's Theatre. This book is no exception. It's well-laid out and chock-full of interesting scripts. I've recommended to several folks interested in RT.

This book is formatted so easily, it took me MUCH less time than I thought it would to prepare a unit on reader's theatre for my class. I used it for my high school theatre class so they wouldn't have to concentrate on large vocabularies, but rather to deliver the story in a simple, easy way. It was a HUGE success of a project and this book made it possible. It tells you how long each story is, what cast you'll need, and what reading level it is!! Yay!!!
The stories themselves are entertaining (even for high school!!!), compelling, and really fun to work with. I am SO grateful I ordered this!

Eric Cross's novel, The Tailor and Ansty, depicts a wonderful old Irish couple who spend their days socializing with new and old friends, arguing and "standing to the cow" or watching over their single diary cow. This couple consists of the delightful Tailor, and his wife Ansty. Although at first, Cross's approach to introducing the reader to these people seems awkward, it also entices and draws the reader into this captivating setting. Through the Tailor's stories, none of which one may be certain are true, and Ansty's nagging, I began to feel as though I knew these people as well as Cross. I frequently had to remind myself, though, that they are no longer living.

Although my original interest in reading the novel stemmed from my person interest in my Irish ancestry, I am well convinced that anyone could find this an entertaining read. Fantastic stories are something that everyone has grown up with, and although the Tailor's may be more mature than those I personally recall at times, the stories the Tailor heartily shares are no different. I cannot avoid the fact that the novel was banned after it's original release, although I do not entirely understand why, and therefore must warn people with more conservative views on life to avoid this novel, because they may not view it in the light it is meant to be seen.

To me, the Tailor and his wife Ansty, this stereotypical Irish couple, ARE my grandparents. I loved reading this book. Cross has a real way with words. The book is incredible. And I'm the great great grandaugter (i'm not sure about how many greats there are) of the tailor. the tradition lives on in our family, the type of relationship that you can see between the tailor and ansty can still be seen in my grandparents. It's a great book for anyone intrigued by their Irish roots.

This book was originally banned in Ireland by the English. They thought the main character, The Tailor, was "sex-obsessed" and his wife, Anastasia, or Ansty, a "moron".

This is really funny to me because I caught no such traits whatsoever in these two characters! This book can easily be read in one sitting, it is so enjoyable!

It is a crime that Constance Congdon is not a household name like Arthur Miller. She consistantly writes some of the best, most touching, and startling original plays that this nation has ever produced. She has written much more than this retrospective would indicate, but this is a good collection that shows a range or her style and content. It is nearly pointless to try to summarize the inclusions here as the unfolding of the unknown into something painfully familiar is part of the delight of her work.

Her writing challenges the expectations of the reader/audience, without causing separation from the pieces. Anyone looking to read some plays that prove sublime enjoyment and mind-blowing freshness are not mutually exclusive would be well served to pick up this excellent volume.

i have recently read this play twice because i will soon be stage managing this very play at my university...if there is someone out that that is considering to read Constance Congdon's play, please read it. and if all else, i quote something my director told me when she was considering this play, "Constance songdon reminds me of Arthur Miller...on ACID!!!" i know it's funny, but when you are done reading this play you will understand what she meant; and it's TRUE.

Connie Congdon is a not-well-enough known genius of late 20th Century American Theater. A contemporary of Sam Sheppard and August Wilson, her late-blooming fame is probably due to the facts that she is a woman, and that her work cannot be categorized. Her plays, as evident in this broad collection, run the gamut from the lyrical to the overheard conversation, to some magical place in-between. They are deeply moving and often hilarious. The world would do well to sit up and pay attention to this post-modern bard.
Suzyn Jackso

Mr. Simonian's penchant for blending the absurd with common day reality is what sells this piece so strongly. Moments coome and go each gripping the state of the human experience with both hands and never letting go. This play is sadly topical on all counts. A must hear.

I have been following Mr. Simonian's career since the days he wrote for Morton Downey, Jr. I have got to say that Mr. Simonian has truly outdone himself, this time. When I listen to this book on tape I can only think, "My God, how can such a young man from Desoto, KS have such a grasp on the fundamental future of this art? Why aren't more playwrights following his lead and delving into the dark psychi of the mundane?" If we in theatre are to survive into the next century with a shred of dignity we must tear a page from Mr. Simonian's book, for he is truly an artist.

Combine the theatre of the absurd with a sense of modern day realism and you have the production THANATOS from Plays on Tape. This new company has started on the right foot. This audio play, of what death means to certain people, is a unique project filled with a twilight zone view of the world. The cast sparks, with a special note of the performance of Ferrel Barron, who overwhelms the audience as an over burdened everyday man. Director Daniel Green keeps the pace lively and moving. It you want to try something new on the audio scene, pick this one up. AUDIOWORLD, Bennet Pomerantz

The Adding Machine was first produced on stage in 1923 and Elmer Rice wrote the Pulitzer Prize for "Street Scene". The Adding Machine is an eye opening take on the soul of a man, who for 25 years adds up figures in the sales department, never missed a day of work and gets canned for technology, an adding machine. The play is a satirical take on corporation, the evolution of man as the slave, and the afterlife.


The man and his family or acquaintances are known as numbers, and this man, Mr. Zero, named for the bottom of the work chain. He is married to Mrs. Zero, a nag who is belittling, degrading and clearly in dismay with his demeaning status or lack of ambition.

It begins with Mr. Zero, who does nothing but add figures all day; and imagines his boss giving him a raise. He works across from Miss Devore, who dreams of loving him. They carry on one-sided conversations with each other. Mr. Zero degrades and disrespects her while she wishes she were dead without him.

He doesn't get the raise, but gets canned, and he goes "postal" and kills the boss. From there, the scenes change from the office to the jail, where he is the subject a tour group as an animal in a cage. Executed, we next see him in the graveyard where he meets Shrdlu, who killed his mother. Together they expect the worst as sinners in hell, but are somehow transformed to a place like heaven, the Elysian Fields considered the final resting place of the souls of the heroic and the virtuous. Mr. Zero then encounters Miss Devore, his workmate, who "blew out the gas" after he died.

Then, Mr. Zero is offered a chance to go back to Earth to do it all over again. He learns that the poor souls who arrive there are simply sent back to work; they are used over and over again.

It is the end, where we learn through insightful dialogue the evolution of man as the slave in the corporate world. Interesting!.....MzRizz.

NOTE:!!! The original play has 8 scenes, and what has been excluded from some performances is the Jail Scene.

When properly rendered, Rice's "The Adding Machine" is a powerful, weird, surreal experience. But notice that this edition is subtitled "A Play in Seven Acts". In the original script, there were eight acts (or "scenes", really), but the original Scene V was cut to streamline the production (in 1923). When they revived the play in 1956, Rice revised and restored Scene V, and this is, in my opinion, the way it should be read. You'll find the complete 8-scene script in "Elmer Rice: Three Plays: The Adding Machine, Street Scene and Dream Girl", which is also here on Amazon (ISBN 0809007355). But, really, you need to see the play before you read the text, if you possibly can. They filmed a movie version of it in 1969 (which I haven't seen), starring the inimitable Phyllis Diller playing Mrs. Zero. Leonard Maltin described this effort as "flawed but interesting," giving it two and a half stars out of four. So keep your eyes open for a dramatic or cinematic revival. Etaoin Shrdlu will thank you!

The Adding Machine by Elmer Rice is regard by many as the first play to bring German expressionism to the American theatre. The story follows the emotional struggle of the characters rather than the plot (in fact most of the major events of the play occur off stage) until he wrote The Adding Machine Rice was a master of the melodrama, but The Adding Machine's distinctively modern feel and disturbing message set it apart from his other plays. It includes a erie dinner scene where six identical couples speak a hyper active version of small talk. this play exposes common place vulgarities and everyday injustice.

This is a great book for relating theatre and the fine arts to technology. Not only does it cover teaching using technology, but it also delves into using the technology to create art.

This book is obviously ahead of its time, and a roapmap for things to come. So insightful that it practically read itself.

I admit I am a bit prejudiced in regard to this book (I am the editor) but I think Theatre in Cyberspace will be of interest to anyone who: 1) Wants to incorporate computer technology in their classroom; 2) Is Interested in expanding the bounds of theatre performance into cyberspace 3) Wants an historical record of what is happening with computers and the world of theatre, education and performance.

A COMPREHENSIVE TEXT- SUITABLE FOR THE CLASSROOM OR THE PRODUCTION VENUE; HIGHLY RECOMMENDED. LITERALLY IT HAS EVERYTHING YOU NEED TO PUT ON A PRODUCTION- WHETHER IT BE THEATRICAL, MUSICAL, OR DANCE.

If you are a serious theatre management student or professional, this is the first book you need to have on your shelf. It is the definitive "Go To" book for all things related to managing theaters and shows, at all levels of the industry.

For example, box office operations and advertising are just as important to Broadway theaters as they are to school and community theaters. The dimensions are different of course - a million dollars a week for the pros, or a thousand dollars a week for schools and communities. But those dollars are equally critical for the economic health of each venue and producing organization. As a result, the book's discussion of box office operations is very relevant to all venues and organizations.

However, just because various performing arts have many things in common, does not mean that solutions to their various concerns are freely interchangeable. Thus, Conte has chapters that focus on the various performance levels - commercial, non-profit theaters, and so on. Within special chapters, the problems and challenges of each type of operation are reviewed in detail.

Conte has a down-to-earth approach to arts production, borne from years of hands-on management experience. Conte says that, in spite of the numerous examples he provides, this is not a "how-to" book. I respectfully disagree. There is so much information contained in this book that any theater manager or producer can learn and use methods and means to accomplish almost any managerial objective. To get a start at achieving anything, the resource to begin with is Theatre Management. As an academic resource, Theatre Management is a veritable encyclopedia of all theatre management.

If you are serious about theatrical management, this book is an invaluable asset. I mean that in every sense of the word. Completely up-to-date and excessively thorough.

Tennessee Williams (Born Thomas Lanier Williams) has always been one of my favorite American authors. I highly recommend this reading for literature students and blooming actors alike. TW has the ability to add colorful symbolism to real emotions coming out of real people without sounding pretentious.

These books should be required reading in advanced high school. But are probably omitted due to the sexual undertones that are in TWs writing.

Certainly books that can be enjoyed later in life.

The three choices for this volume fit very well together. All three include themes that are so often covered in Williams' work. Bizarre family situations, unrequitted love and battles within the self are portrayed, often brutally, in these works. For example, the struggle experienced by "Maggie the Cat" in "Cat on a Hot Tin Roof" is a raw blend of self hatred, self love, longing for what can't be mixed with a fearsome attempt of "keeping up appearances" within the confines of a, to say the least, very unhealthy extended family situation. I think another fine example of Williams' flair for the, shall we say extraordinary, is "Suddenly Last Summer." It's not easily described without giving away many shockers so I won't spoil that here. I highly recommend this volume as the two I just mentioned are absolutely fantastic. Also, don't ever pass up the chance of seeing the film versions of these (I speak of the originals in this case).

In the history of theatre, I am sure that future generations will find that Tennessee Williams was the one playwright who not only wrote of the neuroses and souls of his fellow Americans, but did so with extraordinary beauty and grace.

In this collection one can find three of his most famous plays, two of which, unhappily, do not seem to be revived very often. So although it is always better to SEE a play rather than READ it, that may not be very easy.

"Orpheus Descending" deserves to be rediscovered--a highly poetic, gothic horror story of the battle between art, spirit, soul and sensuality, sexuality. Originally written for the brilliant Italian actress, Anna Magnani, it was in fact played on Broadway by the equally brilliant American, Maureen Stapleton.

"Suddenly Last Summer" was actually the basis for a very long, very self-conscious study I did for a college psych. class. Here in one of Williams most "symbol-laden" plays is his cry for an unfeeling world to accept human beings with all their faults (BECAUSE of all their faults, perhaps?) told through the disturbing memories of a woman whose family wants those memories shut up at any cost.

All three movie versions of these plays are faithful to the originals UP TO A POINT. Try to see the plays, but if that is impossible do yourself a favor: read all of Williams, including his poetry and short stories, and start with this thrilling volume of 3 of his best plays. HIGHLY RECOMMENDED.

One of the delights each year is to get the new copy of this book. It covers a year that's always a year or two back. This gives an opportunity to remember and reflect on the season that was.

2003-2004:

Some great new shows opened: Wicked, Avenue Q

Some others opened, and closed: Six Dance Lessons in Six Weeks, which didn't even last six weeks.

Some shows opened to great critical aclaim: Anna in the Tropics (a couple of Tony's and a Pulitzer) -- I found it pretty boring and it lasted from November 16 to February 22.

There were some revivals: Fiddler on the Roof, Cat on a Hot Tin Roof (Was this the roof year?).

There was some Shakespeare: Henry IV and King Lear.

Some really good shows closed: Cabaret, Man of La Mancha.

Some shows continued that may just go on forever: Beauty and the Beast, The Phantom of the Opera.

Not the best year ever, certainly not the worst. This book is the at least semi-official record of the year. It is basically the statistics and record of the year. It's a delight to read and remember. It's a permanent record of what happened.

Love the book. I'm very happy that Amazon had the book for sale. I used
to be able to purchase the book at the in NYC but the book store closed.
I'm looking forward to Volume 61. The book lists all shows that opened in NYC for the season, with all casts, directors, awards. Also lists off broadway, off off broadway, regional productions. So if theatre is your love this series is for you. Thanks.

After some lovely color photos, John Willis and Ben Hodges delve into Theatre year 2003/2004. Photos, cast lists, and running dates for hundreds of shows. Shows are also grouped according to theatre company. At the end are more photos of Theatre World award recipients, past and present, as well as the longest running shows on Broadway (CATS comes in first, with 7, 485 performances. yikes.)

A must for any theater fan!