An essential source for students of contemporary Turkish culture and society, Gerald MacLean’s absorbing account of this enigmatic individual is accessible to a wide circle of readers and throws light on important episodes of Turkey’s recent history.
‘The strange beauty of life and its sometimes unbearable weight are both considered with a screwball lyricism... pitch-perfect... delicate, moving and wry’ - New York Times
You can experience God’s presence and healing power through dance.
Encountering God Through Dance equips believers to worship Jesus in wholehearted devotion—to express love without fear or shame.
What people are saying:
Encountering God Through Dance is the wonderful journey of a radical lover of God…and a manual for instruction and inspiration. —Bill Johnson, Senior Pastor, Bethel Church
This is by far the most refreshing book I have read in a long time. Saara Taina has given her life to a core area of life that is far too marginalized in many churches. —Marc A. Dupont, Mantle of Praise Ministries, Inc.
Rarely do you see a book that offers passion, testimonies, and biblical expertise so that others can be fully equipped. —Theresa Dedmon, Director of Prophetic Arts, Bethel Church
We have personally experienced the breakthrough power of the dance many, many times in Succat Hallel, our 24/7 worship room that overlooks Mount Zion in Jerusalem. —Rick and Patti Ridings, Succat Hallel
The author’s personal journey of devotion through dance has taken her worldwide. She wraps her exciting travels with a solid biblical framework for the importance of dance in the Kingdom of God—on earth, today!
After The End received its world premiere at The Traverse Theatre in August 2005. “An arresting display... as the tension escalates, the production does find a tremendous claustrophobic force” – The Guardian
“Terrifying... [with] dark political undertones... a quest for power and status that finds expression in a war-seeking, paranoid racism that is all too recognisable in every western culture.” – The Scotsman
"[a] tense two-hander... Kelly's taut, expletive ridden script is realised skillfully... an absorbing and sharply delivered exploration of human behavior, pushed to extremes” 4 stars – The Independent
Nothing to Envy follows the lives of six North Koreans over fifteen years—a chaotic period that saw the death of Kim Il-sung, the unchallenged rise to power of his son Kim Jong-il, and the devastation of a far-ranging famine that killed one-fifth of the population.
Taking us into a landscape most of us have never before seen, award-winning journalist Barbara Demick brings to life what it means to be living under the most repressive totalitarian regime today—an Orwellian world that is by choice not connected to the Internet, in which radio and television dials are welded to the one government station, and where displays of affection are punished; a police state where informants are rewarded and where an offhand remark can send a person to the gulag for life.
Demick takes us deep inside the country, beyond the reach of government censors. Through meticulous and sensitive reporting, we see her six subjects—average North Korean citizens—fall in love, raise families, nurture ambitions, and struggle for survival. One by one, we experience the moments when they realize that their government has betrayed them.
Nothing to Envy is a groundbreaking addition to the literature of totalitarianism and an eye-opening look at a closed world that is of increasing global importance.
From the Hardcover edition.
For the first time, this beautiful and terrible story about love, courage and the endurance of the human spirit is brought to the stage in a version by Rachel Wagstaff, directed by famed director Trevor Nunn.
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A contemporary play for younger people, DNA opened at the National Theatre in February 2008
'A taut, compelling thriller and a modern-day spin on Lord of the Flies, exploring group behaviour and moral equivocation' – Financial Times
'Dennis Kelly's cruel teaser of a play; Anthony Banks's snappy production sets the temperature at chilling.' 4 stars – The Sunday Times
This third edition is accompanied by an all-new companion website curated by a dedicated media editor, with the following resources for instructors and students:Interactive glossary Multiple choice questions Powerpoint Slides. Videos Website links for further study Tutorials on specific skills within Performance Studies Sample Discussion Questions Exercises and Activities Sample Syllabi
The book itself has also been revised, with 25 new extracts and biographies, up-to-date coverage of global and intercultural performances, and further exploration of the growing international presence of Performance Studies as a discipline.
Performance Studies is the definitive overview for undergraduates, with primary extracts, student activities, key biographies and over 200 images of global performance.
Under the watchful gaze of his young assistant and the threatening presence of a new generation of artists, Mark Rothko takes on his greatest challenge yet: to create a definitive work for an extraordinary setting.
A moving and compelling account of one of the greatest artists of the 20th century whose struggle to accept his growing riches and praise became his ultimate undoing..
Nominated for 7 Olivier Awards (2009) and winner of six Tony Awards 2010 including Best New Play. "A FRESH, EXCITING portrait of a BRILLIANT mind." -Ben Brantley, The New York Times.
"SMART AND SCINTILLATING. RED deftly conjures what most plays about artists don't: THE EXHILARATION OF THE ACT." -John Lahr, The New Yorker.
"An electrifying new play." -Marilyn Stasio, Variety.
"Plays about painters are fraught with difficulty. Either the hero preaches about art without practising it, or the Bohemian lifestyle supersedes the work. But John Logan's play about Mark Rothko overcomes these obstacles with finesse... It's a measure of the play's success that it makes you want to rush out and renew acquaintance with Rothko's work. 4 stars" Michael Billington - The Guardian
John Constable famously 'pulled off the impossible' (The Times) with his stage adaptation of Mervyn Peake's legendary Gormenghast trilogy. Commissioned and produced by the David Glass Ensemble, this gruesome, gothic drama has since become a landmark in the history of adaptation for the stage.
'A gloriously impossible realisation of Mervyn Peake's soaring flight of fancy' - The Guardian
Actor Training expands on Alison Hodge’s highly-acclaimed and best-selling Twentieth Century Actor Training. This exciting second edition radically updates the original book making it even more valuable for any student of the history and practice of actor training. The bibliography is brought right up to date and many chapters are revised. In addition, eight more practitioners are included - and forty more photographs - to create a stunningly comprehensive study.
The practitioners included are:
Stella Adler; Eugenio Barba; Augusto Boal; Anne Bogart; Bertolt Brecht; Peter Brook; Michael Chekhov; Joseph Chaikin; Jacques Copeau; Philippe Gaulier; Jerzy Grotowski; Maria Knebel; Jacques Lecoq; Joan Littlewood; Sanford Meisner; Vsevolod Meyerhold; Ariane Mnouchkine; Monika Pagneux; Michel Saint-Denis; Włodzimierz Staniewski; Konstantin Stanislavsky; Lee Strasberg
The historical, cultural and political context of each practitioner’s work is clearly set out by leading experts and accompanied by an incisive and enlightening analysis of the main principles of their training, practical exercises and key productions.
This book is an invaluable introduction to the principles and practice of actor training and its role in shaping modern theatre.
Meanwhile Angela's mother, Viv, struggles to come to terms with her marriage break-up and her daughter's explosive lifestyle, as the play rollercoasters through hope, sex, ambition, despair, and, most of all, love
A GoodReads Reader's Choice
In One Summer Bill Bryson, one of our greatest and most beloved nonfiction writers, transports readers on a journey back to one amazing season in American life.
The summer of 1927 began with one of the signature events of the twentieth century: on May 21, 1927, Charles Lindbergh became the first man to cross the Atlantic by plane nonstop, and when he landed in Le Bourget airfield near Paris, he ignited an explosion of worldwide rapture and instantly became the most famous person on the planet. Meanwhile, the titanically talented Babe Ruth was beginning his assault on the home run record, which would culminate on September 30 with his sixtieth blast, one of the most resonant and durable records in sports history. In between those dates a Queens housewife named Ruth Snyder and her corset-salesman lover garroted her husband, leading to a murder trial that became a huge tabloid sensation. Alvin “Shipwreck” Kelly sat atop a flagpole in Newark, New Jersey, for twelve days—a new record. The American South was clobbered by unprecedented rain and by flooding of the Mississippi basin, a great human disaster, the relief efforts for which were guided by the uncannily able and insufferably pompous Herbert Hoover. Calvin Coolidge interrupted an already leisurely presidency for an even more relaxing three-month vacation in the Black Hills of South Dakota. The gangster Al Capone tightened his grip on the illegal booze business through a gaudy and murderous reign of terror and municipal corruption. The first true “talking picture,” Al Jolson’s The Jazz Singer, was filmed and forever changed the motion picture industry. The four most powerful central bankers on earth met in secret session on a Long Island estate and made a fateful decision that virtually guaranteed a future crash and depression.
All this and much, much more transpired in that epochal summer of 1927, and Bill Bryson captures its outsized personalities, exciting events, and occasional just plain weirdness with his trademark vividness, eye for telling detail, and delicious humor. In that year America stepped out onto the world stage as the main event, and One Summer transforms it all into narrative nonfiction of the highest order.
From the Hardcover edition.
Molière himself first played the hapless merchant, and this believable character in an all too believable predicament both startled and delighted his public. This highly successful translation of The School for Wives, directed by Sir Peter Hall, ran in the West End for six months.
In an oak-panelled room in Oxford, ten young bloods with cut-glass vowels and deep pockets are meeting, intent on restoring their right to rule. Members of an elite student dining society, the boys are bunkering down for a wild night of debauchery, decadence and bloody good wine. But this isn’t the last huzzah: they’re planning a takeover. Welcome to the Riot Club.
Laura Wade's depiction of wealth and privilege is savagely funny - Time Out London
Disgracefully entertaining... there is much fun to be had at the expense of these posh characters as they bicker, get wasted and lament the awfulness of the working classes. **** – The Telegraph
Wade deftly skewers the sense of entitlement that swirls like a sickly perfume around a certain kind of upper-class thug. Her characters seem to have everything, yet whinge relentlessly... Posh combines twisted humour with ripe excess and a cruelly precise topicality. For many it will leave a bitter taste in the mouth. But, as the characters say with lip-smacking approval, it’s savage. **** –London Evening Standard
Wade has grasped a fundamental truth about British life... Her chief target is not just privileged toffs but the cosy network that really runs Britain... But, while Wade's play reminds us that many of the upper-class continue to enjoy the sound of broken glass, its success lies in harpooning the way power operates through a succession of nods and winks in our supposedly open, egalitarian society. **** –The Guardian
It's 2005, the sun is shining and Loretta is planning to make her daughter's favourite meal. But when Sophie stops talking to her, children start vanishing, and rooms begin to cry, Loretta can't help feeling that something is up and that she might have something to do with it.
A play about one woman's journey back to her childhood, to stop her past flooding into the present.
Based on the hit film screenplay by Charles Dance starring Judi Dench and Maggie Smith, and on the original short story by William J. Locke, Ladies in Lavender tells the tale of two sisters Ursula and Janet who live in a close-knit fishing village in picturesque Cornwall, in 1936. When a handsome and talented young Polish violinist bound for America is washed ashore, the Widdington sisters take him under their wing and nurse him back to health. However, the presence of the mysterious young man disrupts their peaceful lives and the community in which they live.
‘It delivers perfect comic timing and hilarious lines.’ - Northampton Chronicle & Echo
Judith Malina and The Living Theatre have been icons of political theatre for over six decades. What few realise is that she originally studied under one of the giants of twentieth century culture, Erwin Piscator, in his Dramatic Workshop at The New School in New York. Piscator founded the Workshop after emigrating to New York, having collaborated with Brecht to create "epic theatre" in Germany.
The Piscator Notebook documents Malina’s intensive and idiosyncratic training at Piscator’s school. Part diary, part theatrical treatise, this unique and inspiring volume combines:
complete transcriptions of Malina’s diaries from her time as a student at the Dramatic Workshop, as well as reproductions of various of Piscator’s syllabi and teaching materials;
notes on Malina’s teachers, fellow students – including Marlon Brando and Tennessee Williams – and New School productions;
studies of Piscator’s process and influence, along with a new essay on the relationship between his teaching, Malina’s work with the Living Theatre and "The Ongoing Epic";
an introduction by performance pioneer, Richard Schechner.
The Piscator Notebook is a compelling record of the genealogy of political theatre practice in the early 20th Century, from Europe to the US. But it is also a stunningly personal reflection on the pleasures and challenges of learning about theatre, charged with essential insights for the student and teacher, actor and director.
'Piscator is the greatest theatre man of our time.' – Bertolt Brecht
What started out as a survey of the twelve leading American history textbooks has ended up being what the San Francisco Chronicle calls “an extremely convincing plea for truth in education.” In Lies My Teacher Told Me, James W. Loewen brings history alive in all its complexity and ambiguity. Beginning with pre-Columbian history and ranging over characters and events as diverse as Reconstruction, Helen Keller, the first Thanksgiving, and the Mai Lai massacre, Loewen offers an eye-opening critique of existing textbooks, and a wonderful retelling of American history as it should—and could—be taught to American students.
This 10th anniversary edition features a handsome new cover and a new introduction by the author.
Winston Smith rewrites history for the Ministry of Truth, but when he’s handed a note that says simply ‘I love you’ by a woman he hardly knows, he decides to risk everything in a search for the real truth. In a world where cheap entertainment keeps the proles ignorant but content, where a war without end is always fought and the government is always watching, can Winston possibly hold onto what he feels inside? Or will he renounce everything, accept the Party’s reality and learn to love Big Brother?
‘Dunster – both in his faithful take on the story and in his sometimes extreme but always enthralling adaptation – gets close to the heart of Orwell’s warning, pointing up but not overemphasising its current political resonances.... Newspeak, Doublethink, Room 101 and Thought Police take on a chilling reality in this compelling production.’ – The Independent
Lewis Carroll's timeless children's stories Alice's Adventures in Wonderland and Through the Looking-Glass and What Alice Found There are magically brought to life in this new adaptation by Adrian Mitchell, specially commissioned for a Christmas production by the RSC. The amazing Lobster Quadrille, the Queen of Hearts' infamous croquet match and the Mad Hatter's Tea Party are just a few of the remarkable events and characters in this enchanting play.
Then a cigarette box and an ill-considered remark spark off a relentless series of revelations and other, more dangerous secrets are painfully exposed. As the truth spills out about the suicide of Robert's clever, reckless brother, and the group's perfect lives begin to crumble, the cost of professional and social success becomes frighteningly plain.
An actress creates a physical and vocal mask challenging a provocative, scandalous and beastly text. Words might be sung, howled and shrieked but a chant never emerges. In her naked physicality she tells a personal story in an unbroken flow of thoughts/words rendered as sounds and movement. The deafening screams being choked. Appeased. Imploded. This female onstage offers herself up in a feast, ready to be torn apart by anyone. A poetic piece born of the flesh that returns to the flesh, captured in a tightly-sealed aesthetic. Applause required.
The Shit is driven by a desperate attempt to pull ourselves out of the mud, the latest products of the cultural genocide aptly described by Pasolini since the modern consumer society began taking form. A totalitarianism, according to Pasolini, even more repressive than the one of the Fascist era, because it's capable of crushing us softly.
Si deve ridere. E' una tragedia in tre tempi: Le Cosce, Il Cazzo, La Fama e un controtempo: L Italia.
Nella sua nudità e intimità pubblica, l'attrice costruisce una maschera fisica/vocale sfidando un testo scandaloso, provocatorio e rabbioso. La scrittura è cantabile, ma il canto non emerge mai, ed è invece preponderante la chiave dell invettiva, del grido, del corpo che sussulta la sua storia personale in un flusso di pensieri/parole raccontati come suoni. Strazianti. Urla assordanti e contratte. Sopite. Implose. La femmina si offre dal vivo come in un banchetto, pronta a venire sbranata da tutti. Una partitura poetica che nasce così dalla carne e alla carne ritorna, pur dentro a una rigidissima confezione estetica. Applausi obbligatori.
La Merda ha come spinta propulsiva il disperato tentativo di districarsi da un pantano o fango, ultimi prodotti di quel genocidio culturale di cui scrisse e parlò Pier Paolo Pasolini all affacciarsi della società dei consumi. Quel totalitarismo, secondo Pasolini, ancor più duro di quello fascista poiché capace di annientarci con dolcezza.
Documenting a trilogy of Brian Lobel’s monologue performances from 2001-2011, this collection challenges the inspirational stories of survivors and martyrs that have come before, infusing the ‘cancer story’ with an urgency and humour which is sometimes inappropriate, often salacious and always, above all else, honest and open.
Published together for the first time, this collection of performances goes beyond the chemotherapy to include reflections on politics, sexuality and gender, providing cancer – and cancer narratives – with a much-deserved kick in the ball(s).
Howard Barker's Scenes from an Execution makes sixteenth‐century Venice the setting for a fearless exploration of sexual politics and the timeless tension between personal ambition and moral responsibility, between the patron’s demands and the artist’s autonomy. Art is opinion, and opinion is the source of all authority.
This edition includes a new essay by Howard Barker, entitled The Sunless Garden of the Unconsolled: Some Destinations Beyond Catastrophe.
Kneehigh now finds itself celebrated as one of the UK’s most exciting theatre companies. This collection contains the performance texts of four of their highly acclaimed shows: Tristan & Yseult, The Bacchae, The Wooden Frock and The Red Shoes. With forewords from Emma Rice, Tom Morris, Anna Maria Murphy and Carl Grose, it offers a unique insight into Kneehigh’s approach to making theatre, revealing how a script can emerge from a collaborative devising process.
Animal lovers and sports fans were shocked when the story broke about NFL player Michael Vick's brutal dog fighting operation. But what became of the dozens of dogs who survived? As acclaimed writer Jim Gorant discovered, their story is the truly newsworthy aspect of this case. Expanding on Gorant's Sports Illustrated cover story, The Lost Dogs traces the effort to bring Vick to justice and turns the spotlight on these infamous pit bulls, which were saved from euthanasia by an outpouring of public appeals coupled with a court order that Vick pay nearly a million dollars in "restitution" to the dogs.
As an ASPCA-led team evaluated each one, they found a few hardened fighters, but many more lovable, friendly creatures desperate for compassion. In The Lost Dogs, we meet these amazing animals, a number of which are now living in loving homes, while some even work in therapy programs: Johnny Justice participates in Paws for Tales, which lets kids get comfortable with reading aloud by reading to dogs; Leo spends three hours a week with cancer patients and troubled teens. At the heart of the stories are the rescue workers who transformed the pups from victims of animal cruelty into healing caregivers themselves, unleashing priceless hope.
Includes an 8-page photo insert.
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Created in 1982 by Gaston Glock, an obscure Austrian curtain-rod manufacturer, and swiftly adopted by the Austrian army, the Glock pistol, with its lightweight plastic frame and large-capacity spring-action magazine, arrived in America at a fortuitous time. Law enforcement agencies had concluded that their agents and officers, armed with standard six-round revolvers, were getting "outgunned" by drug dealers with semi-automatic pistols. They needed a new gun.
When Karl Water, a firearm salesman based in the U.S. first saw a Glock in 1984, his reaction was, “Jeez, that’s ugly.” But the advantages of the pistol soon became apparent. The standard semi-automatic Glock could fire as many as 17 bullets from its magazine without reloading (one equipped with an extended thirty-three cartridge magazine was used in Tucson to shoot Gabrielle Giffords and 19 others). It was built with only 36 parts that were interchangeable with those of other models. You could drop it underwater, toss it from a helicopter, or leave it out in the snow, and it would still fire. It was reliable, accurate, lightweight, and cheaper to produce than Smith and Wesson’s revolver. Made in part of hardened plastic, it was even rumored (incorrectly) to be invisible to airport security screening.
Filled with corporate intrigue, political maneuvering, Hollywood glitz, bloody shoot-outs—and an attempt on Gaston Glock’s life by a former lieutenant—Glock is at once the inside account of how Glock the company went about marketing its pistol to police agencies and later the public, as well as a compelling chronicle of the evolution of gun culture in America.
Too often we approach our lives' biggest challenges with self-doubt and negative anticipations, and then abandon our dreams with regret. But by accessing our personal power, we can achieve a state of awareness, also known as the zone, in which we stop worrying about the impression made on others and instead adjust to our ideal self.
We don’t need to be better than anyone else and gain recognition or fame in order to realize how it feels to be a star. Instead, we need to cultivate our talents, our qualities and our most honest thoughts.
The author has made many people successful with what he knows and has also learned what success and fame meant in his life. He has won many competitions with his music, illustrations and paintings, apart from being widely known as a bestselling author and speaker. But more importantly, he has also formed talented winners in areas in which he isn’t experienced.
Now he presents his exciting science of dominating the skills of the most successful to excel at arts and sports by showing the common but simple paradigms and important patterns that we tend to neglect and ignore, and teaches us how to use them to empower ourselves and perform at our best even in high-pressure moments.
This book is filled with stories of individuals who deal with these issues in a daily basis. It will allow the reader to acquire an approach to his biggest challenges with more confidence and understanding regarding what to do and how while being at his best.
‘Adapted for the stage in a colourful and musical manner. Catchy tunes, impressive costumes and subtle yet effective special effects make for a fun family day out and highlights include the stunning costume of talking white elephant Hamlet and the beautifully crafted puppets used to help tell the tale.’ - The Stage
As America's Mercury Seven astronauts were launched on death-defying missions, television cameras focused on the brave smiles of their young wives. Overnight, these women were transformed from military spouses into American royalty. They had tea with Jackie Kennedy, appeared on the cover of Life magazine, and quickly grew into fashion icons.
Annie Glenn, with her picture-perfect marriage, was the envy of the other wives; JFK made it clear that platinum-blonde Rene Carpenter was his favorite; and licensed pilot Trudy Cooper arrived with a secret that needed to stay hidden from NASA. Together with the other wives they formed the Astronaut Wives Club, providing one another with support and friendship, coffee and cocktails.
As their celebrity rose-and as divorce and tragedy began to touch their lives-the wives continued to rally together, forming bonds that would withstand the test of time, and they have stayed friends for over half a century. THE ASTRONAUT WIVES CLUB tells the story of the women who stood beside some of the biggest heroes in American history.
Multiple Academy Award-winner Oliver Stone (once called “Dostoevsky behind a camera”) has directed such iconic movies as Platoon, Wall Street, JFK, Natural Born Killers, and W and is known for his often controversial point of view and probing exploration of weighty historical and political topics. Now, Stone collaborates with esteemed American University professor Peter Kuznick to present our country’s “secret history,” one that has been unearthed through recently discovered archives and newly declassified material.
Filled with poignant photos and little-known historical facts, this book covers the rise of the American Empire and national security state from the late nineteenth century through the Obama administration, revealing how deeply rooted the seemingly aberrant policies of the Bush-Cheney administration are in the nation’s past—and why it has proven so difficult for President Obama to significantly change course.
By discerning patterns that have previously gone unrecognized and examining the most recently released classified documents, Stone and Kuznick challenge prevailing orthodoxies and ask questions not normally raised. The result is not the kind of history taught in schools or represented on television or in popular movies, and it will come as a surprise to the vast majority of American and global citizens, shocking and astounding both experts and history-lovers alike.
From the first slaves arriving in Jamestown in 1619, the cotton fields in the Southern States and shipbuilding in New England, to the slaves who laid down their lives in war so that Americans could be free, American Slavery in an Hour covers the breadth of the subject without sacrificing important historical and cultural details.
An important and dark time in Black – and American – history, American Slavery in an Hour will explain the key facts and give you a clear overview of this much discussed period of history, as well as its legacy in modern America.
Know your stuff: read the history of American Slavery in just one hour.
From its start, America has been awash in drink. The sailing vessel that brought John Winthrop to the shores of the New World in 1630 carried more beer than water. By the 1820s, liquor flowed so plentifully it was cheaper than tea. That Americans would ever agree to relinquish their booze was as improbable as it was astonishing.
Yet we did, and Last Call is Daniel Okrent’s dazzling explanation of why we did it, what life under Prohibition was like, and how such an unprecedented degree of government interference in the private lives of Americans changed the country forever.
Writing with both wit and historical acuity, Okrent reveals how Prohibition marked a confluence of diverse forces: the growing political power of the women’s suffrage movement, which allied itself with the antiliquor campaign; the fear of small-town, native-stock Protestants that they were losing control of their country to the immigrants of the large cities; the anti-German sentiment stoked by World War I; and a variety of other unlikely factors, ranging from the rise of the automobile to the advent of the income tax.
Through it all, Americans kept drinking, going to remarkably creative lengths to smuggle, sell, conceal, and convivially (and sometimes fatally) imbibe their favorite intoxicants. Last Call is peopled with vivid characters of an astonishing variety: Susan B. Anthony and Billy Sunday, William Jennings Bryan and bootlegger Sam Bronfman, Pierre S. du Pont and H. L. Mencken, Meyer Lansky and the incredible—if long-forgotten—federal official Mabel Walker Willebrandt, who throughout the twenties was the most powerful woman in the country. (Perhaps most surprising of all is Okrent’s account of Joseph P. Kennedy’s legendary, and long-misunderstood, role in the liquor business.)
It’s a book rich with stories from nearly all parts of the country. Okrent’s narrative runs through smoky Manhattan speakeasies, where relations between the sexes were changed forever; California vineyards busily producing “sacramental” wine; New England fishing communities that gave up fishing for the more lucrative rum-running business; and in Washington, the halls of Congress itself, where politicians who had voted for Prohibition drank openly and without apology.
Last Call is capacious, meticulous, and thrillingly told. It stands as the most complete history of Prohibition ever written and confirms Daniel Okrent’s rank as a major American writer.
The five short plays that make up Oh, the Humanity and other good intentions move toward feeling by way of thought, and toward gratitude by way of loss. These largely sane plays feature people alone or in pairs, or both, attempting to present themselves in the best light, or ultimately, desperately, in any light. Inadvertently vulnerable, or unconsciously callous, or both, the characters here realize they are stuck in a body, and try to put the best face on it. They are, at times, like all of us, unsure of who they are, what they want, what exactly they're on the way to. Is it a funeral or a christening? Is it both or neither? Though this might all seem hazy and conditional, it might all in fact be painstaking and absolute. This is life, for the Problematical Animal.
Crossing the state border in a stolen Ford V-8 with a trunk of sawn-off shotguns and bootleg whiskey, Bonnie and Clyde have found one last place to hide. Time is ticking - they're on the run from the law and from reality, but which one will catch them first?
Based on the true story, and set in 1934 in an unnamed southern state of America, Bonnie & Clyde is an intimate re-telling of the final hours of one of the world's most infamous criminal couples.
‘There’s more than a dash of ‘Godot’ to this promising play... Adam Peck’s script has a sparse elegiac beauty’ – Andrzej Lukowski, Time Out
‘It is all vividly and hauntingly realised... Fairground is definitely a company to watch.’ - The Guardian
‘Commit murder for a ticket. But on'y if ya have to.’ **** Venue Magazine
Over it all reigns Miss Atomic, a seductive storyteller/singer inspired by the 1950s beauty pageants celebrating the bombs tested in the Nevada desert. She is the symbol of creation and destruction, bankruptcy and bonanza, and this profoundly unique American city.
'The National has found a real bonus in Mr Bean' Michael Billington, Guardian
'For the beautifully performed double act and the hilariously meandering dialogue, this is a theatrical hotel room worth checking into.' Paul Taylor, The Independent
First published in the late 1890s, Rudyard Kipling’s two Jungle Books have enchanted generations of children and adults. Often described as an allegory for the society and politics of the time, The Jungle Book has now been adapted by critically-acclaimed South African playwright, Craig Higginson. The play asks: Who is your family? Those who look the same as you or those who love and nurture you? Here, the tales become a powerful examination of an emerging democracy, and the forces that threaten it. Based on a version by the celebrated director Tim Supple, this adaptation was first staged at Johannesburg’s Market Theatre in 2008. This powerful and magical version of a much-loved classic is as resonant now as it was when it first appeared – both within South Africa and beyond its borders.
The sinking of the Titanic 100 years ago in 1912, and the subsequent deaths of over 1,500 passengers, sent shock waves around the world. Never before or since has a maritime disaster in a time of peace had such an impact.
TITANIC: HISTORY IN AN HOUR is an entertaining and well researched account of the events leading up to the sinking of this ‘unsinkable’ ship, providing an fascinating commentary on the pressures of the White Star Line, the importance of class to Titanic’s unfortunate passengers and the legacy of the disaster in Britain and America. TITANIC:HISTORY IN AN HOUR is a gripping and accessible account.
Know your stuff: read about the Titanic in just one hour.
John Fitzgerald Kennedy, America’s youngest President, was assassinated barely one thousand days into his Presidency. In the fiftieth anniversary of his death, this is the story of the man who brought an aspirational new approach to American politics.
Born into the glamorous cast of Kennedys, JFK was propelled to political success despite family tragedy, disappointment and pressure. He engaged in a Space Race, averted the Cuban missile crisis and showed solidarity with the fledging civil rights movement. Throughout all he maintained a charismatic public image as son, brother and husband, despite his concealed personal failings and the chronic illness that beset him. JFK: History in an Hour provides a compelling and comprehensive overview of the man who epitomised the hopes of a decade and remains an influential figure to this day.
Love history? Know your stuff with History in an Hour.
A New York Times Notable and Critics’ Top Book of 2016
Longlisted for the PEN/John Kenneth Galbraith Award for Nonfiction
One of NPR's 10 Best Books Of 2016 Faced Tough Topics Head On
NPR's Book Concierge Guide To 2016’s Great Reads
San Francisco Chronicle's Best of 2016: 100 recommended books
A Washington Post Notable Nonfiction Book of 2016
Globe & Mail 100 Best of 2016
“Formidable and truth-dealing . . . necessary.” —The New York Times
“This eye-opening investigation into our country’s entrenched social hierarchy is acutely relevant.” —O Magazine
In her groundbreaking bestselling history of the class system in America, Nancy Isenberg upends history as we know it by taking on our comforting myths about equality and uncovering the crucial legacy of the ever-present, always embarrassing—if occasionally entertaining—poor white trash.
“When you turn an election into a three-ring circus, there’s always a chance that the dancing bear will win,” says Isenberg of the political climate surrounding Sarah Palin. And we recognize how right she is today. Yet the voters who boosted Trump all the way to the White House have been a permanent part of our American fabric, argues Isenberg.
The wretched and landless poor have existed from the time of the earliest British colonial settlement to today's hillbillies. They were alternately known as “waste people,” “offals,” “rubbish,” “lazy lubbers,” and “crackers.” By the 1850s, the downtrodden included so-called “clay eaters” and “sandhillers,” known for prematurely aged children distinguished by their yellowish skin, ragged clothing, and listless minds.
Surveying political rhetoric and policy, popular literature and scientific theories over four hundred years, Isenberg upends assumptions about America’s supposedly class-free society––where liberty and hard work were meant to ensure real social mobility. Poor whites were central to the rise of the Republican Party in the early nineteenth century, and the Civil War itself was fought over class issues nearly as much as it was fought over slavery. Reconstruction pitted poor white trash against newly freed slaves, which factored in the rise of eugenics–-a widely popular movement embraced by Theodore Roosevelt that targeted poor whites for sterilization. These poor were at the heart of New Deal reforms and LBJ’s Great Society; they haunt us in reality TV shows like Here Comes Honey Boo Boo and Duck Dynasty. Marginalized as a class, white trash have always been at or near the center of major political debates over the character of the American identity.
We acknowledge racial injustice as an ugly stain on our nation’s history. With Isenberg’s landmark book, we will have to face the truth about the enduring, malevolent nature of class as well.
A Thousand Lives is the story of Jonestown as it has never been told. New York Times bestselling author Julia Scheeres drew from tens of thousands of recently declassified FBI documents and audiotapes, as well as rare videos and interviews, to piece together an unprecedented and compelling history of the doomed camp, focusing on the people who lived there.
The people who built Jonestown wanted to forge a better life for themselves and their children. In South America, however, they found themselves trapped in Jonestown and cut off from the outside world as their leader goaded them toward committing “revolutionary suicide” and deprived them of food, sleep, and hope. Vividly written and impossible to forget, A Thousand Lives is a story of blind loyalty and daring escapes, of corrupted ideals and senseless, haunting loss.
From the mystique of the glamorous Kennedys to the tumult that surrounded Bill and Hillary Clinton during the president’s impeachment to the historic tenure of Barack and Michelle Obama, each new administration brings a unique set of personalities to the White House—and a new set of challenges to the fiercely loyal and hardworking people who serve them: the White House residence staff.
In her runaway bestseller The Residence, former White House correspondent Kate Andersen Brower pulls back the curtain on the world’s most famous address. Drawing on hundreds of hours of interviews with butlers, maids, chefs, florists, doormen, and other staffers—as well as conversations with three former first ladies and the children of four presidents—Brower offers a group portrait of the dedicated professionals who orchestrate lavish state dinners; stand ready during meetings with foreign dignitaries; care for the president and first
lady’s young children; and cater to every need the first couple may have, however sublime or, on occasion, ridiculous.
“Superbly reported. . . . A fascinating backstage account of the world’s most famous residence.”—Judy Woodruff, anchor, PBS NewsHour and former White House Correspondent for NBC News