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Ed Lowry joined the vaudeville circuit in 1910 at the age of 14. He never achieved stardom equal to the likes of Fred Allen, Jack Benny, George Burns, Buster Keaton, or Eddie Cantor, and he never considered himself an "artiste". Instead, he saw himself as a hoofer and comic simply trying to make a living on the vaude scene. My Life in Vaudeville recounts Lowry's long career in entertainment from the viewpoint of a foot soldier with a big dream.

To Each Their Own is a modern-writ comedy in the style of the Theatre of Elizabeth the First, written with a scholar's research and a modern Shakespearean actor's wit. It includes many of the elements we are used to seeing in Shakespeare (sassy servants, pompous Noblemen, love-at-first-sight, shipwrecks, magic, fights, sacrifice, and slapstick) and language that conveys much more than single emotions.

The Hazel theme music plays to an applauding audience as 64-year-old Shirley Booth steps up to the stage for her second Emmy Award. As the character Hazel, her superb comedic and dramatic skills resulted from arduous years of perfecting her minimalist approach to acting. More than 50 years earlier, Shirley first stepped onto the stage against the wishes of her father. How could Shirley Booth achieve so much success as an actress, winning every major acting award possible without formal dramatic training?

Ghost Light: An Introductory Handbook for Dramaturgy offers useful and entertaining answers to the confounding question: "What, exactly, is dramaturgy, and what does a dramaturg do?" According to Michael Mark Chemers, dramaturgs are the scientists of the theater world - their primary responsibility is to query the creative possibilities in every step of the production process, from play selection to costume design, and then research the various options and find ways to transform that knowledge into useful ideas.

Burlesque: A Living History captures the spirit of this unique art form through hundreds of photographs and stories from many who were a part of America's most colorful past. This audiobook highlights the careers and contributions of selected artists, many of whom were the nuts and bolts of burlesque. It also acknowledges just some of the young performers of today who are diligently working to remember the days of old. When burlesque theatres and clubs went dark, a whole world went dark with them.

On the afternoon of December 30, 1903, during a sold-out matinee performance, a fire broke out in Chicago's Iroquois Theatre. In the short span of twenty minutes, more than six hundred people were asphyxiated, burned, or trampled to death in a panicked mob's failed attempt to escape. In Chicago Death Trap: The Iroquois Theatre Fire of 1903, Nat Brandt provides a detailed chronicle of this horrific event to assess not only the titanic tragedy of the fire itself but also the municipal corruption and greed that kindled the flames beforehand and the political cover-ups hidden in the smoke and ash afterwards.

This guide to play reading for students and practitioners of both theater and literature complements, rather than contradicts or repeats, traditional methods of literary analysis of scripts. Ball developed his method during his work as Literary Director at the Guthrie Theater, building his guide on the crafts playwrights of every period and style use. The audiobook is full of tools for students and practitioners to use as they investigate plot, character, theme, and the other crucial parts of the superstructure of a play.

In this survey of eighteenth and nineteenth century American drama, Tice L. Miller examines American plays written before a canon was established in American dramatic literature and provides analyses central to the culture that produced them. Entertaining the Nation evaluates plays in the early years of the republic, reveals shifts in taste from the classical to the contemporary in the 1840s and 1850s, and considers the increasing influence of realism at the end of the nineteenth century.

Whether you're a lover of theatre, a theatre manager or staff member, an instructor, a student, or part of the cast or crew, TheatreBook is for you. TheatreBook is packed with exclusive behind-the-scenes information about everything from marketing to safety, lighting to audio, special effects to costumes.

Mohammed is an Arab in love with Iris, a Jewish soldier of 18 years defending the State of Israel. Will he experience the happiness of a love fulfilled or will he experience the tragedy of rejection and be engulfed in an excruciating tragic end? In his second play, H. C. Kim explores the themes of love and sorrow. Like his first play, Ping Pong: A Play about American College Life, Jewish Being centralizes the idea of the power of love. Love is the most awesome phenomena in the world.

Clara Blow is a one-woman play in two acts about the life and times of Clara Bow. The "It" Girl was the movies' first American sex goddess. The star of Wings, the first film to win the Best Picture Oscar, Clara Bow's unhappy life, in many ways, paralleled that of her successor, Marilyn Monroe. A longtime victim of insomnia, Ms. Bow lies awake on the morning of her estranged husband's funeral and painfully remembers the mentally ill mother who once tried to kill her; her career as the ultimate "flapper" her many nervous breakdowns; and affairs with the likes of Gary Cooper, Gilbert Roland, director Victor Fleming, and, as is said, the USC football team.

Like the classics of dystopian literature - think Fahrenheit 451 by Ray Bradbury, A Clockwork Orange by Anthony Burgess, and more recently, The Hunger Games by Suzanne Collins, The Birthday Present 2050 is a dystopian play that takes a dark look at a disturbing contemporary trend and magnifies it under future totalitarian conditions. The Birthday Present 2050 takes place in a society in which only people and things considered productive are assured existence

Orson Welles is a one-person play in two acts about the life and times of Orson Welles. Some say that Orson Welles was a genius, but he always denied that. He did give us Citizen Kane, considered by most critics to be the best film ever made, but after that, his career took one long downward plunge. The play finds Welles trying to find the financing for one of his film projects. It's a difficult task, since most of the Hollywood community considers him to be a "screwball".

The Theatrical Event discusses the objectives of theater studies by focusing on the communicative encounter between performer and spectator - the theatrical event. A theatrical event includes the presentation of a performance and the attention of an audience; in this sense, every performance - on stage or in the street, historical or contemporary - that is watched by an audience is a theatrical event. The concept underlines the "eventness" of all encounters between performers and spectators.

Charles Dickens' classic story of redemption and Christmas spirit adapted into a 45-minute one-man show, retaining all the characters and brimming with Dickens' humor, recorded live in performance before an audience. Booking information and performance rights are available at andy.babinski@yahoo.com.

We Bombed in New London tells the true story of one man's tenacious plight to get his musical mounted. From its romantic inception to its eventual demise and then the score's resurrection in cabarets and recordings, this book takes you on a journey through the ups and downs of the theatrical world with all its excitement, disappointment, laughter and hope.

Ted Swartz and his Ted & Company TheaterWorks team are known for blending Bible stories with comedy and poignancy, and pushing the envelope on issues of faith and social justice. But who is Ted Swartz? Follow along in this engaging memoir as Swartz finds his way as a middle child in an eastern Pennsylvania traditional Mennonite home to his early work in the family butcher shop. Journey with Ted through the decision of uprooting his young family to attend seminary and then embracing life as a writer and actor.

Is theater really dead? Does the theater, as its champions insist, really provide a more intimate experience than film? If so, how have changes in cinematic techniques and technologies altered the relationship between stage and film? What are the inherent limitations of representing three-dimensional spaces in a two-dimensional one, and vice versa? American Drama in the Age of Film examines the strengths and weaknesses of both the dramatic and cinematic arts to confront the standard arguments in the film-versus-theater debate.

When it comes to living life to its fullest, Rosalind Russell's character Auntie Mame is still the silver screen's exemplar. And Mame, the role Russell will always be remembered for, embodies the rich and rewarding life Bernard F. Dick reveals in his biography, Forever Mame: The Life of Rosalind Russell. Drawing on personal interviews and information from the archives of Russell and her producer-husband Frederick Brisson, Dick begins with Russell's childhood in Waterbury, Connecticut.

If you are an aspiring actor with dreams of becoming a success like Al Pacino, Julia Roberts, Brad Pitt, and the likes, then this is the step-by-step blueprint for you.