Arts and Entertainment Books

I've had the rare pleasure of reading Alexandra Tomnalonis's book, "Henning Kronstam: Portrait of a Danish Dancer" and it is wonderful. The book is crammed with information; with Ms. Tomalonis's writing style I never felt I was plowing my way through an encyclopedia. The narrative flowed and my interest did not waver. Kronstam emerges a fascinating man. He was a silent Dane not given to letting others know much about him. An artistic genius, his style was all but lost in the era of the Ballet Boom and the following changes in the art. The book tells about his exciting entrance to Royal Danish Ballet, his dancing career, his dramatic excellence, the dancers of his era, and the nurturing of the Bournonville tradition. It continues with his career as artistic director and ballet master, and his influence on the dancers fortunate enough to be coached by him (there are many insightful quotes by his protégé's). He was a man of great detail and it is fascinating to read about those tiny details he'd add or subtract from a ballet in order to make it perfect. I highly recommend to book.

This remarkable book looks superficially like a ballet biography. It is so much more than that. It deserves, and I hope finds, a readership far broader than a ballet book would normally reach... In the book we learn that his first experience as a professional was as a child actor in the very theatre he would later dedicate his life to, so his destiny on stage in some capacity was assured. He danced the principal roles in all the major ballets, and was especially notable in the Bournonville tradition that he helped maintain. He had many new works created for him by modern choreographers, including the part of Romeo in Ashton's Romeo and Juliet. Whenever the Royal toured, which was not often enough, foreign critics and audiences singled Kronstam out for special recognition for both his dancing and his acting. But I venture to say that ballet lovers who know of Nureyev and Bruhn, who were roughly Kronstam's contemporaries, may not know Kronstam's name. This book gives some interesting perspectives that help explain why.

The fact that the book is called "Portrait of a *Danish* Dancer" (rather than simply "Portrait of a Dancer") puzzled me at first. But Ms. Tomalonis has thoroughly captured Kronstam's complex personality, and in many ways that personality was the Danish national character in microcosm. It seems that many of Kronstam's inherent strengths and weaknesses were reinforced by the societal expectations of both his family and his nation. This may have contributed, consciously or unconsciously, to Kronstam's choice to remain in Copenhagen for his entire career when others chose to leave to pursue international recognition with foreign companies.

The book succeeds on so many levels. It has all the hallmarks of a good biography. The author, who personally met with and interviewed her subject extensively and also spoke with scores of his relatives and colleagues, discusses Kronstam's personal matters with tact and dignity. She portrays Kronstam with a kind of tenderness that does not detract from her clear-eyed understanding of him. The fact that Kronstam, an intensely private person, was comfortable and candid enough to reveal as much as he did to her bespeaks a level of trust in the author that few biographers enjoy. Inspite of the pervasive sadness of Kronstam's story at the end of his life, when she met with him, Ms. Tomalonis is able to show Kronstam's warmth and humor as well. It gives Kronstam an aura of nobility which he, in his typical humility, would probably have derided.

For balletomanes, like me, the book showcases Ms. Tomalonis' depth of both historical and current ballet expertise. Her writing style is so fluent and graceful, however, that the wealth of ballet detail never interferes with the book's story line. One can sense that this very expertise was part of the common language between author and subject that made it possible for Kronstam to communicate his thoughts so effectively to the author.

Finally, for anyone interested in understanding the creative process, there is a unique opportunity to hear Kronstam's own recollections of how he developed his roles, how he was able to inhabit a role with his characteristic intensity. Several of the modern ballets in which he created characters contain harrowing psychological plot lines, and one can only wonder how Kronstam was able to both shield and use his own vulnerabilities to bring these works to life. This section of the book should be required reading for dancers, because it illuminates the thoughtfulness and dedication required of any intelligent performer who wants to do more than execute steps and pantomime emotions. Actors, I am told, embrace the opportunity to "be" their characters, to try on other lives. Here Kronstam conveys that process in a human and insightful way. Ms. Tomalonis somehow manages to make herself invisible during these passages, so that it is Kronstam who emerges with tremendous immediacy... Kronstam could have expected no greater tribute than to have his story told with so much grace and feeling.

Although Henning Kronstam was a dancer of world-class talent and style, he chose to remain close to his beloved home, the Royal Danish Ballet. While Erik Bruhn made international headlines, Kronstam remained mostly at home, blessing the Danes with his perfect technique and great stage presence. I never understood why he had chosen so to shape his career, but Tomalonis' excellent book examines the artistic, psychological and social forces which informed him, and the reading is fascinating, whether the reader is a ballet fan or not. She writes compellingly and with grace and wit, so much so that one is almost loth to finish the book, which must, of course, end with its subject's death. One wishes men like Kronstam to live happily forever. Here is a story of a life well worth examining, and from which to learn.

Fantastic, well presented cookbook for everyone. The recipes are easy to follow and there are a wide variety of dishes for every palate and season. I would recommend this book to any cook experienced or novice.

This book is beautiful to look at, wonderful to eat, and provides warmth to the heart! The format of the book is amazing with the graphics, pictures of the food, and the color. The recipes are delicious, I personally have tried the doorknob sweet potatoes, nuts and bolts salad, and white berry mousse, which have all been terrific! I recommend it to everyone for holiday gifts!

In this book, Bob Saget has one of the funniest stories about spending Thanksgiving with Rodney Dangerfield before he died that's probably worth the price right there. It's beautifully laid out, could definitely dress up a coffee table, and the recipes look worth cooking. But, let's face it, $5 from every book sold goes straight to the charities supported by these celebrities. I bought several as holiday gifts.

This is an informative and delightful set that has information on Hollywood songsters that can be found no where else. Each entry has a wonderful picture accompanying. I have spent many, many happy hours pouring over the entries and learning facts about my favorite stars. This is a must have for all libraries and any scholar of musical theatre or musical film or just popular music of the 20th century. Well worth the money! It is clear that Parrish and Pitts have done their homework, but even clearer that they have a love for the subject matter and it shows on every page. As a songwriter with a love for the field, I use this book constantly.

Film historians James Robert Parish and Michael Pitts's "Hollywood Songsters" have outdone themselves with this handsomely designed three-volume set that is worth every penny. Filled with rare photos, "Hollywood Songsters" has comprehensive, accurate and fascinating entries on over 100 "singers who act and actors who sing." The lives and careers of everyone from A to Z or June Allyson to Mae West are covered in intriguing and fact-filled detail. Who would have thought that such an indespensible reference book could also be a page-turner. Once you start reading this treasure trove of information it is hard to put down because of the insider tidbits and behind-the-scenes facts that fill the well-written pages. As theater and film critic and lover of musicals, I find this a most wonderful addition to my library as well as a great read. The filmography and lp and CD bibliography on each singer is unparalled. Bravo to Mr. Parish and Mr. Pitts!!!

This project has to be a mad labor of love on the part of the authors -- how else / who else would produce a 3-volume directory of singing in the movies? We must applaud and support the authors for this massive work -- I can't imagine it not being definitive -- by urging local libraries to carry it. A database like this should be available to everyone!

How Dark the Heavens is a valuable resource of historical information on the Holocaust, and an authentic recollection by a survivor. It is unique, in that this book pulls the reader into the story as would a novel.

the author writes in a "detached" style.I guess that is the only way he could recount these horrible experiences inposed upon him by subhumans. It is a superb diary.

Perhaps you, like I, at times wonder of what stuff you are made. In a truly horrible situation, would you do what it right at all cost? Would you have the inner fortitude to persistently march forward, to place your life at risk for the good of others? Often, and sadly, I suspect I would not; but, my ego hopes I would. Lithuania might be an unfamiliar name to you. But, this true story invites you to join the author in his nightmarish run from the Nazis during World War II. You'll know what it is like to be suddenly wrenched from your home, country and family by the pursuit of others out to exterminate you, simply because you happen to be in the way. In his flight, the author chooses paths of moral and physical courage, in order to preserve meaning for his life. Would I have joined him? Or would I have given up? What about you? Here's a chance to "test your stuff," at least in the safe pages of a good read.

Former Editor-in-Chief of "Back Stage West" magazine and Los Angeles Times theatre critic Rob Kendt is the author How They Cast It: An Insider's Look At Film And Television Casting, a keen examination of the film and television casting process for popular modern-day shows including "Will and Grace", "The Lord of the Rings", "Alias" and many more. The "presenting partner" of How They Cast It is Breakdown Services, a successful casting notice firm that contributes insights, anecdotes, sample documents from the casting process, and valuable suggestions for casting directors and auditioning actors alike. How They Cast It is not written in a "how-to" or textbook style; it is entirely about the close analysis of its chosen cases, each of which forms a different chapter, giving it an episodic structure that is as enjoyable for lay people wondering how the "Friends" cast was selected as it is useful for professionals who have already studied "how-to" manuals and want to learn from real-life examples.

Breakdown Services is the starting point for casting actors in just about every television show or feature film in Hollywood. Providing this little-known window into the needs of each television show or feature film, Breakdown Services is proud to present an insider's look at how the biggest films and TV shows matched their actors with the roles they went on to make famous-and in some cases, even created into cultural icons. How did Lord of the Rings find their Frodo? How did Will find his Grace? How did Sydney come by her Alias? And just how hard was it to find a nine-year-old guitar prodigy for Jack Black's School of Rock? Find out in this entertaining, fact-packed guide that takes you from script and "breakdown" through the casting (and recasting) process. Read about the inside stories that happen even before they go "behind the scenes."

Rob Kendt is the former Editor-in-Chief of Back Stage West magazine and is a contributing theatre critic for the Los Angeles Times.

"What all casting directors are waiting for, hoping for - dying for - is that one actor who comes in and blows them away with his or her reading. Every audition is a chance to strut your stuff, to make the casting director a fan of your talent. The bottom line: A good casting director never forgets a great actor."
- Ellie Kanner, casting director
Friends, Sex and the City, author of How NOT to Audition: Avoiding the Common Mistakes Most Actors Make (2004)

As an Actress living in Los Angeles, I think this book is a great tool for actors who want to learn more about the business side of the entertainment business.
It is so easy if you don't get a part, to think somehow you did something wrong or to feel like a failure. Well, this book will show you all the things that the Casting Directors and the Powers-That-Be go through to find the right Cast for a TV Show or Movie. I never realized how complicated it can be, and this book was a real eye-opener.
Just reading about the casting of "Friends", and the failed pilots some of the actors were in before they hit it big - well, it just amazed me. And that Lisa Kudrow almost ended up on Fraiser instead ... wow....
If you are an Actor, this book will give you a better understanding of the side of the Biz that you never see. I highly recommend it.

Hugo Friedhofer, one of the great Hollywood film composers, was more than the consumate musician. His wit and his loving personality are shown in this engaging book. His analysis of music, composers, producers, films, actors and actresses is captivating. Hugo worked with George Gerswhin, was close friends with Oscar Levant and had Bud Powell play piano in his living room!

In his interview for the Film Music Archive, Hugo Friedhofer tells it like it is, and the book shows that he is not fake, but was a real giant in the Hollywood that used to be littered with talent and quality. Even if you know little about film music, this book is great history of the Hollywood of yesterday.

Hugo Friedhofer, one of the great Hollywood film composers, was more than the consumate musician. His wit and his loving personality are shown in this engaging book. His analysis of music, composers, producers, films, actors and actresses is captivating. Hugo worked with George Gerswhin, was close friends with Oscar Levant and had Bud Powell play piano in his living room!

In his interview for the Film Music Archive, Hugo Friedhofer tells it like it is, and the book shows that he is not fake, but was a real giant in the Hollywood that used to be littered with talent and quality. Even if you know little about film music, this book is great history of the Hollywood of yesterday.

It's so satisfying to learn about the life of the film composer who wrote the score to such movies as "The Best Years of Our Lives," "The Adventures of Marco Polo" and "The Young Lions" - some of my favorite Hollywood film scores. Much of this book contains the story of Hugo Friedhofer as told by himself through interviews and his own personal correspondence. With droll and witty comments and a collection of truly wonderful photos Ms. Danly has truly presented a well-thought-out book. Hugo was well-respected by everyone in Hollywood (he had a photographic memory and a reputation for knowing the classical literature to a fault) and now with this biography we know why.

This book was fantastically entertaining! The man is as chaotic, eccentric, and strange as you would probably guess but did you know he was funny as well! Of course it is a bizarre sense of humor and some of it very nonsensical but it is interesting nonetheless. I couldn't put it down and since it is not written as an autobiography but snippets of interviews on a variety of topics--you can pick it up and begin reading on any page. I loved this book. A huge book for a huge personality and the pictures are amazing! Black and white rare photos of actors and scenes from his most memorable movies. Many of these are worthy of framing.

This book arrived in perfect condition and I received a very warm e-mail from the seller acknowledging my order and the shipment. Perfect!

This deluxe edition of what renowned Fellini specialist Tullio Kezich describes as the Maestro's "spiritual testament" (in his superb foreword to the book) is bona fide Fellini-esque. Hilarious anecdotes are squeezed in beside a number of very moving meditations on old age, sex, LSD, unemployment, Trivial Pursuit, God, Dante, death and the Hereafter. The newly restored black-and-white photos capturing the Italian director's surreal world are well-served by an excellent English translation. The final entry in the lexicon is a fairy tale titled "Zio Lupo" or "Uncle Wolf" and it pretty much defines Fellini's insatiability. Highly recommended.

Of course I knew about Elvis but I hadn't read much about him. I wouldn't call myself an "Elvis Fan." Then I happened to get a chance to visit Graceland one day and after that visit, I knew that Elvis answered his life's call and was compelled by Spirit to be the legend that he was. So what would influence Elvis to become so great?

The answer is in this book. The book is not about Elvis. It has a little introduction about how Elvis used this book. "The Impersonal Life" was actually first published anonymously in 1916. The author has been discovered but little is known about the author. Elvis bought this book by the case and gave it out freely to friends and acquaintences. He read this book over and over and over, underlining and putting notes in the margins. He absorbed the meaning of the book and you know that is true after you read it.

The book's content is very spiritually fulfilling. It does not include religous language, symbolism or dogma but it is very spiritual. "I AM" is speaking to the reader. On page 122 it reads "I may be expressing through you beautiful symphonies of sound, color or language, that manifest as music, art or poetry, according to mortal terminology, and which so affects others as to cause them to acclaim you as one of the great ones of the day."

Does that not say what Elvis was about? This book contains the words that caused Elvis to hear and understand his call. The book is small and very easy to read. It is rich with Spirit speaking and it compels you to live out your life answering your call, whatever that may be. Wow! I am glad I discovered this book. I, too, will read it over many times. It's definitely worth more than its weight in gold.

The Impersonal Life is being marketed by DeVorss & Co as "the Little Book in Which Elvis found the light." And for good reasons: it's a sound marketing move, it gets more people to read it....and this potent little book will truly help you find the (inner/spiritual) light if you are even slightly seeking it.

This book has little to do with Elvis, except that he loved it second only to the Bible, handed out hundreds of copies to friends...and it enlightened and inspired him. The Impersonal Life was written in the early twentieth century by the enigmantic Joseph S. Brenner, who wrote and published it under the pen name ANONYMOUS.

So what is it? Firstly, it is definitely a little but very profound book. DeVorss' special Graceland-authorized edition (with a young and thin Elvis on the cover) is tiny enough to carry in your pants or jacket pocket, purse, carry on luggage etc.

Secondly, it's basically an early 20th century version of Conversations With God, although it does not venture near some of the controversial areas that the later (and I think inferior) volumes of that contemporary book did.

The Impersonal Life is also seems like a first-person work(the author speaking as that spark of divinity he contends is within all of us) that could have been written by the great Ernest Holmes, author of the landmark Science of Mind writings. Its core idea is that your mind is linked to a Higher Power so a "Thinker is a Creator...(who) lives in a world of his own conscious creation."

Brenner, writing as the voice of God and appealing and explaining to each reader's own divine spark, writes that "every thing, every condition, every event that ever transpired was first an idea in the mind. It was by desiring, by thinking, and by speaking forth the Word, that these ideas came into visible manifestation."

Why did Elvis care and be influenced by The Impersonal Life -- and why should YOU? This little book, with each of its words as potent as literary dynamite blasting away earthly mental clutter and worries, stresses the importance of belief and nonshakeable FAITH...and argues that inspiration and intuitive flashes just don't happen. There's a reason. And if you follow these impersonal flashes you can live an impersonal life....uplifted from the personal human concerns and preoccupations, better focused on spiritual concerns and increasingly empowered with increasingly documentable spiritual power.

This is the Elvis that few people have ever seen or known about--the Spiritual side. I truely enjoyed reading the SAME words that comforted Elvis in his times of need. The words contained with in this small, but powerful little book spoke out to me as if IT was written just for me. This must have been how Elvis felt while reading it too. This book is like an instruction manual directly from God, speaking from within. I will keep this book and read it many times as a reminder of the power of God, which is found within. It makes a great gift for those who are interested in the spirual side of Elvis, but most importantly for those who want to discover more of the spiritual side of themselves.

Christa Ludwig's powerful performances of Carmen, Ortrud, the Dyer's Wife, and others are treasured memories of many opera lovers and record collectors (including me!). And so it's most welcome to have her memoirs and even more so because of her refreshing directness and candor. She tells about her career with honesty, humor, pride, and humility. A very nice selection of photos are especially welcome to those of us who enjoyed her onstage.

Regina Domeraski's translation is an admirably smooth-flowing narrative that lets Miss Ludwig's personality come through clearly.

Most highly recommended.

Christa Ludwig was, in my opinion, the greatest German mezzo of her time, in both opera and lieder, and, as someone else says in an opera review on Amazon, the greatest Elektra that never was and the greatest Brunnhilde that never was. And she is also, as you can see from her engaging book "In My Own Voice," a person of wit, honesty, an exuberance for life, and and with an ability to talk about her gifts and her life that both recognizes what she has and puts it in perspective. As she quotes from the Schubert lied "Geheimnis," in the close of her book:

So geht es auch dem Sanger,
Er singt, erstaunt in sich;
Was still ein Gott bereitet,
Befremdet ihn wie dich.

So it is also with the singer,
He sings, amazed at himself;
What in silence a god made,
Amazes as well as you.

Ludwig talks about her early life, born into a singing family, in Nazi Germany. She takes us through her career, but she tells us much more than a recital of what she sang, when and where. The most fascinating part of this book for me was the description of each of her major operatic roles - which ones she especially enjoyed, the joys and the challenges (and the roles she would like to have sung). She doesn't indulge in gossip, and is generous about her colleagues. She talks about conductors, houses, preparation, and the often lonely and difficult life of a singer.

And she shares with us her introspection about herself and her art. "Was it worth it? What was the meaning?" I am so greatful to be able to read about Christa Ludwig "in her own words."

Christa Ludwig is inarguably one of the greatest singers and musicians of this or any time. A mezzo-soprano who also made at least one classic recording of a great soprano role (Beethoven's Leonora in FIDELIO), Mme. Ludwig was, in addition, a probing and insightful recital and concert artist. Mme. Ludwig's memoir, expertly translated by Regina Domeraski, reveals a deeply committed artist who is also a human being who has lived a full life, and has no reservations when it comes to talking about either. If you have read any of Mme. Ludwigs's numerous interviews, you will know that she is a frank, uninhibited, witty and no-nonsense person. She is as comfortable talking about Harry Belafonte in Carmen Jones as she is talking about Schubert and Brahms lieder. Very few autobiographies by celebrated opera singers tell you as much about their subject as this one does. If you've read this far, you'll want to have it. Trust me....

Carole Zucker has just given us the finest book ever written on British actors.'In the Company of Actors...' is an entertaining, informative and thorough investigation into the lives and craft of some of Britain and Ireland's most popular and accomplished thespians. This particular book is so far away from the standard "actor's biography" that it would be futile to compare it to any other publication around today. It simply stands apart on all level. It is most certainly destined to become a classic. Meeting with such famous figures as Eileen Atkins, Alan Bates, Nigel Hawthorne, Stephen Rea and Miranda Richardson (among others), the author is cleverly dissolving herself into the background of the interviewing process, thus allowing the actors to really open up and to freely speak about what constitutes acting for theatre, film and television. Zucker succeeds in creating a climate of intimacy never before reached (in any given interview), and her book will make you feel like a privileged reader with a direct access into the minds of these extremely talented people. There are even moments of self-revelation which makes 'In the Company of Actors..' a brillant excercise in deep social interaction. It is an impressive display of professional savoir-faire on the part of Mrs. Zucker and a major contribution to acting studies as a whole. For the aspiring actor, the book also offers a lot of insights into the business. Whether it be Stephen Rea explaining the differences between the Irish, British and American film industries, or Academy Award nominee Janet McTeer discussing the difficulty of being a woman actor (in a male-dominated world), the book covers all bases from all angles, and no stones are left unturned. Subtely broaching theoretical and practical concerns about acting, 'In the Company of Actors...' is accessible to both, the neophyte and the acting student. If you are interested in knowing more about this wonderful and crazy profession, do yourself a favor and go buy this amazing book now!

Don't let the "reflections" of the title throw you: this is no drowsy academic tome. This is a fascinating read for anyone interested in actors and acting. Many of the subjects are relatively unknown on this side of the Atlantic, but if you care about the process of real acting, this book will take you in, chapter by chapter. Critic Kenneth Tynan said "The study of actors should be a full-time task, worthy of the same passionate scholarship which lepidopterists devote to butterflies." What we have here is that passion's result, and Carole Zucker has given voice to the butterflies.

Carole Zucker has just given us the finest book ever written on British actors.'In the Company of Actors...' is an entertaining, informative and thorough investigation into the lives and craft of some of Britain and Ireland's most popular and accomplished thespians. This particular book is so far away from the standard "actor's biography" that it would be futile to compare it to any other publication around today. It simply stands apart on all level. It is most certainly destined to become a classic. Meeting with such famous figures as Eileen Atkins, Alan Bates, Nigel Hawthorne, Stephen Rea and Miranda Richardson (among others), the author is cleverly dissolving herself into the background of the interviewing process, thus allowing the actors to really open up and to freely speak about what constitutes acting for theatre, film and television. Zucker succeeds in creating a climate of intimacy never before reached (in any given interview), and her book will make you feel like a privileged reader with a direct access into the minds of these extremely talented people. There are even moments of self-revelation which makes 'In the Company of Actors..' a brillant excercise in deep social interaction. It is an impressive display of professional savoir-faire on the part of Mrs. Zucker and a major contribution to acting studies as a whole. For the aspiring actor, the book also offers a lot of insights into the business. Whether it be Stephen Rea explaining the differences between the Irish, British and American film industries, or Academy Award nominee Janet McTeer discussing the difficulty of being a woman actor (in a male-dominated world), the book covers all bases from all angles, and no stones are left unturned. Subtely broaching theoretical and practical concerns about acting, 'In the Company of Actors...' is accessible to both, the neophyte and the acting student. If you are interested in knowing more about this wonderful and crazy profession, do yourself a favor and go buy this amazing book now!