Theatre Books

This play is the second I read in my life, but I am sure it is one of the best ever written!
It is witty and funny, a social satire everybody should read.
Wilde played with words and stereotypes in a wonderful manner.
Two thumbs up!

This is not a study book, anyone interested in light reading but with interest in playback theatre or searching to expand their psychodrama-techniques repertoire, should read this easy to read book. The feeling of a playback theatre performance touches you while reading, you have read the book in two hours but will grab it several times to refind the inspiration of it. If you are realy looking for a studies and more comprehensive book on the subject try "acts of service, spontanaity and commitment in improvisational theatre" " of J Fox, if not try this one first

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"Clearly, I need to attend the ballet more often. When I think of schlepping to a theatre to see the ballet, I think of "The Nutcracker" and tight tights. This new coffee table book which has just come out (and, seriously, if you don't have a long coffee table then you won't be able to open it; she's a big girl) features glorious photography from the American Ballet Theatre's staple productions. You've got your "Romeo & Juliet," your "The Sleeping Beauty" and of course, your "Swan Lake." All the photos are stunning, all the costumes and poses are glorious, all the men's arms make me feel bad about myself and reminds me check the Equinox class schedule for that abs and booty workshop I've had my eye on. If you're like me, and not as familiar as you should be with ballet, then you'll see spreads from shows that will catch your attention and perhaps entice you to purchase over-priced season tickets. There's a one-act version of "A Midsummer Night's Dream," just called "The Dream" that intrigues me, as well as "Othello." Their new season opens on 19 May, so get ready. For a peak at last year's opening night gala, check out this video on The New York Times' site. Lorne Michaels, Lynda Carter, and old folks (who are SO not ballerinas) getting their groove on at the after-party make it one of those little web treasures that makes me yearn to be back on the streets of Manhattan. Insert sigh here."

Anyone who is into pop-culture trivia will find plenty to love about this book. It's a great introduction to Peter Ivers and the creative mark he made in movies, music, television, and theatre.

Attention all Firesign fans: You must buy this. The way they piece together classic bits with new bits, leading to the end of the world (December 31, 1999, remember?), is brilliant. They use older material, expertly updated, as well as material from their first CD in the CD age, 'Give Me Immortality, or Give Me Death.' I was surprised at how it all works so well. I haven't been impressed by their previous live efforts, which is why I reviewed this. This double CD features a nice balance between old favorites and new favorites. (Check out the Firezine web site, as well as the official Firesign Theatre web site...

a collection of plays. i first became aware of wallace when my university did one flea spare, which i was extremely impressed with for its depth, creativity, emotional focus, and brechtian wit. i really enjoyed one flea spare on the printed page; i truly believe this is a play that deserves to be put in the same class as the other american greats, such death of a salesman, mourning becomes electra, and the crucible. in one flea spare the action involves four people impatiently waiting out a quarantine sentence at the time of the great plague in london and its themes include the loss of innocence and class and gender struggles. the final play, trestle at pope lick creek, is definitely the second best of the plays. set in a rural community, the play's unflinching look at a world of poverty and lack of opportunity is chilling and memorable. there were parts of the other 3 plays that were also well done, although in general they were not as tightly scripted. it is interesting to see wallace's general style becomes more apparent in reading these plays, in her language and her use of such devices as playing with time. in the heart of america is set during the gulf war and the the war boys concerns three men watching the mexican-american border for illegal immigrants. slaughter city is about workers in a slaughtering factory who are trying to preserve their union. all in all this is definitely an impressive collection of plays by a modern master.

Such bleak times in our history. It brings it to life yet pulls you in and makes you feel like you are actually there.

Nothing can really substitute for listening to the accounts of the soldiers themselves who fought in war. Much has been written by former soldiers of their trials in combat but rarely are they recorded in an interview. This is an excellent compilation, well recorded and produced, of such accounts from a cross section the various campaigns of WWII. Not many veterans open up to discuss war to their family or anyone so listening to these heroes is a rare exception. My father, a veteran of the ETO, saw horrible combat as he battled through France and into Nazi Germany but never mentioned a word of it to his children. These interviews help fill in some of the gaps in understanding the war from their perspective. Thanks to those soldiers who reopened those painful moments to be recorded for others to hear. Even if you are not a student of history I recommend these just for the inspiring stories themselves.

In 1986, Paul Simon's album, "Graceland" focused international attention on the music and people of South Africa. The music was not the mournful dirges of apartheid victims but rather the vibrant sounds of a cultural affirmation. Anyone interested the people and culture behind the "Graceland" sound need look no further than David Coplan's "In Township Tonight!"

Those who might shy away from an academic work, for fear of encountering dry-as-sawdust pedantic prose, will be pleasantly surprised. Coplan's writing is clear and unencumbered. Coplan provides a brief survey of the dynamics of Black South African culture in the nineteenth century. This serves a backdrop to the book's primary focus, Black music and culture in urban South Africa during the twentieth century.

Coplan's account is intersting and exciting, sad yet homorous. Through rigorous research and passion for his subject Coplan provides the reader with a compelling look at one of the most unusual societies of the twentieth century, apartheid South Africa. The reader is taken beyond the simplistic South Africa of media sound bites to a world of complex characters where music is part of life and where, in the background one hears the irrepresible peep of a penny whistle.

But what's wrong with that? This very funny play, focussing on a group of children (played by adults) putting on a nativity play, is a welcome antidote to all that tired pantomime malarkey. Each character is skilfully, economically drawn and, with each actor playing a number of parts, there's plenty of fun to be had by all involved. It contains ridiculous but snappy jokes, a smattering of pathos and a giant papier mache Frankenstein head. There is no better recipe for a Christmas trifle.