- Table View
- List View
Happy Days - A Musical
by Paul Williams Garry MarshallMusical / Characters: 10m, 7f, Cast can be expanded for large groups Goodbye gray skies, hello blue! Happy days are here again with Richie, Potsie, Ralph Malph and the unforgettable "king of cool" Arthur "The Fonz" Fonzarelli. Based on the hit Paramount Pictures television series, Happy Days, A New Musical reintroduces one of America's best loved families, the Cunninghams -- yes, Howard, Marion and Joanie are here too -- to a whole new generation of kids and parents. The famed drive-in malt shop and number one hangout, Arnold's, is in danger of demolition. So the gang teams up to save it with a dance contest and a TV-worthy wrestling match. Even Pinky Tuscadero, Fonzie's childhood sweetheart, returns to help and -- lo and behold! -- they rekindle their old flame. Happy Days, A New Musical, with amazing music from Oscar-winner Paul Williams and a book by the TV series original creator Garry Marshall, is perfect for regional theatres to perform. High schools can also perform the show with any number of cast members they wish. This show is so versatile it can be done with a full orchestra, just a piano, or even instrumental tracks. Return to the days of 1959 Milwaukee complete with varsity sweaters, hula hoops and jukebox sock-hoppin' fun. This perfectly family friendly musical will have you rockin' and rollin' all week long! "If you like Grease you will love Happy Days. A power house, rock and roll trip down memory lane, HAPPY DAYS IS NOT TO BE MISSED!" -NY Daily News "A family show...and it brings back a cast of characters loved by millions of fans." -TalkingBroadway.com "Very cool! TWO THUMBS UP!" -Los Angeles Daily News "A real crowd pleaser!" -Hollywood
Haptic Allegories: Kinship and Performance in the Black and Green Atlantic
by Kathleen GoughFirst published in 2013. Routledge is an imprint of Taylor & Francis, an informa company.
Harkee the Cat
by Cleve HauboldHarkee the Cat / Cleve Haubold / Comedy / 5m, 4f with ensemble / This award-winning comedy for all ages tells the story of the citizens of the village of Farnstall, who, much to their alarm, are visited by a royal messenger. With banners unfurled and trumpets blowing, he announces the bad news that the villagers must make ready for a visit from the King-- and his royal guard of 843 gentlemen-at-arms! This hungry procession will eat the poor villagers out of house and home. Every sausage, crumpet and cake will disappear from their shops, and they'll not get a single farthing in exchange! What despair-- until clever Harkee the Cat shows an usual and hilarious solution to the problem. A cast, which includes an uproarious drum-beating shrew, her timid husband, a mischievous apprentice, a pompous royal lord, a busy-body messenger, and a warm-hearted shopkeeper, keep the story romping along in unexpected directions to a funfilled climax. / First Prize Winner in the Atlantic Junior League Children's Theatre Playwriting Contest
Harlan Ellison's Movie: The Screenplay
by Harlan EllisonHerein lies in written form Harlan Ellison's Movie, the full-length feature film Ellison created when a producer at 20th Century-Fox said, "If we gave you the money, and no interference, what sort of movie would you write?" Well, that producer is no longer at the studio; he left the entire venue of moviemaking after Harlan Ellison's Movie was seen by the Suits. There is no use even trying to describe what the film is about, except to confirm the long-standing rumor that it contains a scene in which a 70-foot-tall boll weevil chews and swallows an entire farmhouse and silo on-camera. (It is Scene 33C.)
Harlequin
by Ana Bowlova Ana Claudia AntunesThird book in the series "Pierrot Love" begins with a pinch of pepper and Talita brooding inside for not being in a few scenes that Giovanni filmed.Now Talita screamed angry because her scenes were all cut. And Giovanni already can not bear too her whining and sends her to strolling, literally, to take a breath which she obeys promptly. And then she goes on to stun the small Anne filling her even more with her messages that leaves Anne even more terrified. Anne does not know what to do to get rid of the damned messages. She then goes as to be more devotes to the art of acting. Once she comes into contact with the magical world of theater she becomes even more persuaded and persecuted for this ethereal being because she is the one who insists on pursuing her everywhere. Talita finds an even better form of telepathy as a communication channel in the theater is a way to express all her fury, influencing Anne to tell her story in an exemplary manner. The two now seem to benefit from contact with each other but here comes a new villain on the scene. Harlequin has take the place of Pierrot and does succumb to her eternal beloved Colombina and so passionate, now he starts to compel her to believe in him, revealing Pierrot´s dark past.
Harlequin in Hogtown: George Luscombe and Toronto Workshop Productions
by Neil CarsonA history of Toronto's first alternative theater company during its 30-year run, 1959-89, pivoting on its artistic director Luscombe. He brought techniques from London and started in a factory basement with collective plays and original European works. The company acquired a reputation and in 1967 its own building. But in the early 1970's nationalist sentiments and newer forms of alternative theatre left the TWP backstage without cues. Canadian card number: C95-930446-0. Annotation copyright by Book News, Inc. , Portland, OR
Harold Bloom's Shakespeare
by Robert J. Sawyer Christy DesmetEighteen essays from Desmet (U. of Georgia), Sawyer (East Tennessee State U.) and other scholars consider the sources and impact of Harold Bloom's Shakespearean criticism. The volume includes contributions from well known critics as well as younger writers. Topics include, for example, Bloom's promotion of a new secular humanism, his criticism of Shakespeare's characters, and his exploration of the playwright's place in literary geography. Annotation c. Book News, Inc., Portland, OR (booknews.com)
Harold Pinter (Routledge Modern and Contemporary Dramatists)
by Graham SaundersHarold Pinter provides an up-to-date analysis and reappraisal concerning the work of one of the most studied and performed dramatists in the world. Drawing extensively from The Harold Pinter Archive at the British Library as well as reviews and other critical materials, this book offers new insights into previously established views about his work. The book also analyses and reappraises specific key historical and contemporary productions, including a selection of Pinter’s most significant screenplays. In particular, this volume seeks to assess Pinter’s critical reputation and legacy since his death in 2008. These include his position as a political writer and political activist – from disassociation and neutrality on the subject until relatively late in his career when his drama sought to explicitly address questions of political dissent and torture by totalitarian regimes. The book revisits some familiar territories such as Pinter’s place as a British absurdist and the role memory plays in his work, but it also sets out to explore new territories such as Pinter’s changing attitudes towards gender in the light of #MeToo and queer politics and how in particular a play such as The Caretaker (1960) through several key productions has brought the issues of race into sharper focus. Part of the Routledge Modern and Contemporary Dramatist series, Harold Pinter provides an essential and accessible guide to the dramatists’ work.
Harold Pinter's Party Time (The Fourth Wall)
by White G. D.‘All you have do is shut up and enjoy the hospitality.’ Terry Harold Pinter’s Party Time (1991) is an extraordinary distillation of the playwright’s key concerns. Pulsing with political anger, it marks a stepping stone on Pinter’s path from iconic dramatist of existential unease to Nobel Prize-winning poet of human rights. <P><P> G. D. White situates this underrated play within a recognisably ‘Pinteresque’ landscape of ambiguous, brittle social drama while also recognising its particularity: Party Time is haunted by Augusto Pinochet’s right-wing coup against Salvador Allende’s democratically elected government in Chile. <P><P> This book considers Party Time and its confederate plays in the dual context of Pinter’s literary career and burgeoning international concern with human rights and freedom of expression, contrasting his uneasy relationship with the UK’s powerful elite with the worldwide acclaim for his dramatic eviscerations of power.
Harold Pinter's Shakespeare: Shakespeare's Influence on the Work of Harold Pinter (Routledge Advances in Theatre & Performance Studies)
by Charles MortonThis book charts the impact of Shakespeare’s works on Harold Pinter’s career as a playwright. This exploration traces Shakespeare’s influence through Pinter’s pre-theatre writings (1950-1956), to his collaboration with Sir Peter Hall (starting properly at the RSC in 1962 and continuing until 1983), and a late, unpublished screenplay for an adaptation of The Tragedy of King Lear (2000). Adding to studies of playwrights such as Samuel Beckett and James Joyce as significant influences on Harold Pinter’s work, this study aims to highlight the significant and lasting impact that Shakespeare had both formatively and performatively on the playwright’s career. Through exploring this influence, Morton gains not only a greater understanding of the shaping of Pinter’s artistic outlook and how this affected his writing, but it also sheds light on the various forms of Shakespeare’s continued influence on new writing, and what can be gained from this. This study will be of great interest to students and scholars in theatre and performance studies.
Harrison Birtwistle's Operas and Music Theatre
by David BeardDavid Beard presents the first definitive survey of Harrison Birtwistle's music for the opera house and theatre, from his smaller-scale works, such as Down by the Greenwood Side and Bow Down, to the full-length operas, such as Punch and Judy, The Mask of Orpheus and Gawain. Blending source study with both music analysis and cultural criticism, the book focuses on the sometimes tense but always revealing relationship between abstract musical processes and the practical demands of narrative drama, while touching on theories of parody, narrative, pastoral, film, the body and community. Each stage work is considered in terms of its own specific musico-dramatic themes, revealing how compositional scheme and dramatic conception are intertwined from the earliest stages of a project's genesis. The study draws on a substantial body of previously undocumented primary sources and goes beyond previous studies of the composer's output to include works unveiled from 2000 onwards.
Harry Partch: An Anthology of Critical Perspectives (Contemporary Music Review #Vol. 19)
by David DunnThis anthology of writings about the American experimental composer Harry Partch is the most comprehensive collection of commentaries about the composer and his work ever assembled. Eleven major figures of contemporary music voice their views on Partch (1901-1974) and his radical contributions to twentieth-century music. These include composers and theorists who worked closely with him and important comments from his contemporaries and musical inheritors.
Harry Potter and the Cursed Child: Parts One and Two (Special Rehearsal Edition)
by J. K. Rowling Jack Thorne John TiffanyBased on an original new story by J.K. Rowling, Jack Thorne and John Tiffany, a new play by Jack Thorne, Harry Potter and the Cursed Child is the eighth story in the Harry Potter series and the first official Harry Potter story presented on stage.
Harrying: Skills of Offense in Shakespeare's Henriad
by Harry BergerHarrying considers Richard III and the four plays of Shakespeare’s Henriad—Richard II, Henry IV Part 1, Henry IV Part 2, and Henry V. Berger combines close reading with cultural analysis to show how the language characters speak always says more than the speakers mean to say. Shakespeare’s speakers try to say one thing. Their language says other things that often question the speakers’ motives or intentions. Harrying explores the effect of this linguistic mischief on the representation of all the Henriad’s major figures.It centers attention on the portrayal of Falstaff and on the bad faith that darkens the language and performance of Harry, the Prince of Wales who becomes King Henry V.
Harvest
by Manjula Padmanabhan`A modern morality play. A bitter, savagely funny vision of the cannibalistic future that awaits the human race...? ? OUTLOOK A searing portrayal of a society bereft of moral and spiritual anchors, Manjula Padmanabhan?s fifth play, Harvest, won the Onassis Award for Original Theatrical Drama in 1997, the first year in which the prize was awarded. Following its international premiere in Greece in 1999, the play has been performed over the years by theatre groups, both amateur and professional, around the world. A dark satire, Harvest tells the story of an impoverished family and the Faustian contract they enter into with a shadowy international corporation: fabulous wealth in exchange for the organs of one of its members. As Ginni, the glamorous American woman who hopes to receive the organs, invades their one-room home via an interactive video device the play lays bare the transactional nature of human relationships ? even the most intimate ones. This edition includes, for the first time, a gender-reversed version of the play ? an experiment by the author that provides startling insight into the stereotypes and societal constructs ingrained deep in the human psyche and, indeed, into how we perceive gender.
Hassan: The Story of Hassan of Baghdad and How He Came to Make the Golden Journey to Samarkand
by James Elroy FleckerNone.
Hat Tricks
by Dori AppelDramatic Comedy / Flexible casting, 3-12 f / Unit Set / 2008 Finalist for the Oregon Book Awards, Angus Bowmer Award in Drama / Hat Tricks is an exciting compilation of six scenes and three monologues designed for performance by mature actresses. Covering a range of women's experiences in the second half of life, these nine pieces range from the purely comedic to those that combine humor with thoughtful and sometimes poignant explorations. This is a richly varied collection featuring a single intriguing commonality: Every scene or monologue includes the presence and compelling use of a HAT!
Haunted City: Three Centuries of Racial Impersonation in Philadelphia
by Christian DucombHaunted City explores the history of racial impersonation in Philadelphia from the late eighteenth century through the present day. The book focuses on select historical moments, such as the advent of the minstrel show and the ban on blackface makeup in the Philadelphia Mummers Parade, when local performances of racial impersonation inflected regional, national, transnational, and global formations of race. Mummers have long worn blackface makeup during winter holiday celebrations in Europe and North America; in Philadelphia, mummers’ blackface persisted from the colonial period well into the twentieth century. The first annual Mummers Parade, a publicly sanctioned procession from the working-class neighborhoods of South Philadelphia to the city center, occurred in 1901. Despite a ban on blackface in the Mummers Parade after civil rights protests in 1963–64, other forms of racial and ethnic impersonation in the parade have continued to flourish unchecked. Haunted City combines detailed historical research with the author’s own experiences performing in the Mummers Parade to create a lively and richly illustrated narrative. Through its interdisciplinary approach, Haunted City addresses not only theater history and performance studies but also folklore, American studies, critical race theory, and art history. It also offers a fresh take on the historiography of the antebellum minstrel show.
Haunted Dreams: Fantasies of Adolescence in Post-Soviet Culture (NIU Series in Slavic, East European, and Eurasian Studies)
by Jenny KaminerHaunted Dreams is the first comprehensive study in English devoted to cultural representations of adolescence in Russia since the end of the Soviet Union in 1991. Jenny Kaminer situates these cultural representations within the broader context of European and Anglo-American scholarship on adolescence and youth, and she explores how Russian writers, dramatists, and filmmakers have repeatedly turned to the adolescent protagonist in exploring the myriad fissures running through post-Soviet society. Through close analysis of prose, drama, television, and film, this book maps how the adolescent hero has become a locus for multiple anxieties throughout the tumultuous years since the end of the Soviet experiment. Kaminer also directly addresses some of the pivotal questions facing scholars of post-Soviet Russia: Have Soviet cultural models been transcended? Or do they continue to dominate? The figure of the adolescent, an especially potent and enduring source of cultural mythology throughout the Soviet years, provides provocative material for exploring these questions. In Haunted Dreams, Kaminer employs a historical approach to reveal how fantasies of adolescence have mutated and remained constant across the Soviet/post-Soviet divide, focusing on violence, temporality, and gender and the body. Some of the works discussed present the possibility of salvaging the model of the heroic adolescent for a new society. Others, by contrast, relegate this figure to the dustbin of history by evoking disgust or horror, or by unmasking the tragic consequences that ensue from the combination of adolescence, violence, and fantasy.
Haunting History Onstage: Shakespeare in the USA and Canada (Elements in Shakespeare Performance)
by Regina BuccolaIn 2016, Chicago Shakespeare Theater and the Stratford Festival of Canada mounted marathons through Shakespearean history to commemorate the 400th anniversary of the death of Shakespeare with Tug of War and Breath of Kings. Both productions invited parallels to contemporary political events in their promotion and design, just as the original performances of these works in the Shakespearean era used past events to comment on present realities. Endurathons for cast and audience alike, Tug of War and Breath of Kings used double-casting, stylized treatments of violence and 'firsts' for each company to sweeten the bitter pill of these historical narratives.
Havana is Waiting and Other Plays
by Eduardo Machado"The existential pain of exile, the confusions of sexual identity and the complex legacies of the Cuban revolution are predominant [in] Mr. Machado's writing," -The New York TimesEduardo Machado explores his lifelong themes with humor and passion in Havana Is Waiting (a writer returns to Cuba after thirty years), Kissing Fidel (a comedy set in Miami funeral parlor), The Cook (chronicling Cuban history), and Crocodile Eyes (inspired by Federico García Lorca).Eduardo Machado is the author of more than forty plays. Born in Cuba, his plays have been widely performed. He is artistic director of INTAR Theatre and head of playwriting at New York University.
Haven
by Mishka LavigneHavre won the 2019 Governor General’s Literary Award for Drama (French).The play has also been translated into German and Spanish.First produced in French by La Troupe du Jour, Saskatoon, in 2018First produced in English by United Players of Vancouver in January 2022
Having Our Say: The Delany Sisters' First 100 Years
by Emily Mann Sarah Louise Delany Annie Elizabeth DelanyTHE STORY: HAVING OUR SAY opens as 103-year-old Sadie Delany and 101-year-old Bessie Delany welcome us into their Mount Vernon, New York, home. As they prepare a celebratory dinner in remembrance of their father's birthday, they take us on a remark
He's All Man: Learning Masculinity, Gayness, and Love from American Movies
by John M. Clum"He's All Man" is John M. Clum's insightful, biting and characteristically humorous analysis of the central myths of American manhood that have been propagated by Hollywood films and dramatized by our major playwrights. In the politically incorrect way he dared to ask "What happened to gay irony?" in Something for the Boys , Clum now dares to ask the explosive question "What is the vision of the American Male that Hollywood has sold us?" He's All Man examines the ways in which homoeroticism has been part of the myth of American manhood, wrapping itself around cowboy, soldier, and gangster legends as they fuse to create a picture of the quintessential American male. <p><p>From Audie Murphy to The Sands of Iwo Jima and The Maltese Falcon , Clum takes us on a tour of the roughs, the toughs, and the fluffs that swagger, strut, and pirouette their way through the Hollywood Masculinity Machine and the ways in which gay filmmakers have bought into the Hollywood vision of manhood and romance. Just as Something for the Boys raised hackles and caused controversy over Lorenz Hart's lyrics and Ethel Merman's lungs, He's All Man will surely do the same for Edward G. Robinson's cigar and Marlon Brando's t-shirt.
Healing Traumatized Children: Navigating Recovery For Children Who Experience Tragedy
by Faye L. Hall Jeff L. Merkert John A. BieverBecause millions of children experience early trauma and attachment disruptions, whether through death, physical or sexual abuse, domestic, community, or school violence, terrorism or other tragic losses, parents and professionals need not just vague theories but a proactive plan for healing relationship avoidant children. Healing Traumatized Children authors Hall, Merkert and Biever have successfully merged mental health, trauma, and attachment, parenting and in-home treatment strategies into a single comprehensive resource for parents and professionals. The authors emphasize the importance of an in-home plan (where the healing must begin), outline how to effectively assemble a support network, provide the keys to the establishment of a therapeutic home environment, discuss psycho-education that identifies the six distinct Trauma Disrupted Competencies and provide multiple types of healing interventions. Healing Traumatized Children confirms that without effective in-home intervention, many of these children will become involved in juvenile and adult justice systems and continue the intergenerational transmission of maladaptive relationships, abuse, and neglect. It is important to remember that these children will eventually become tomorrow’s parents.