Other books that might interest you

• 

  Pepsodent Show The - Volume 2 -...

  Staff Writer

  • 0
  • 0
  • 0

  The name Leslie Townes Hope is not the most familiar to us.  Born in Eltham, London on May 29th, 1903 he and his family emigrated to the United States aboard the SS Philadelphia before moving to Cleveland, Ohio. 
   
  Although he entered show business in the 1920's it was only in 1928 that he changed his name to the one and only Bob Hope. 
   
  Stints in Vaudeville and then Broadway were followed by his radio debut in 1932 and feature films in 1938.   
   
  1938 was a banner year for Bob Hope as it was also the debut season for the eventual decade running smash-hit radio show: The Pepsodent Show.  Despite the sponsors, name getting the billing this was Hope’s show.   
   
  His opening monologue was the result of his hiring from his own pocket – he had an extravagant salary from the sponsor - of a team of 8 writers to write top notch jokes and skits.  His comic timing turned him into a sensation.  The show was so popular that it had its pick of the best of show business stars. Everyone wanted in. 
   
  Now its time to cut the talk and get ready for laughs.  It’s time for Bob Hope and his guests.

  Show book

• 

  Un pas de deux un pas de dieu -...

  Christine Jensen Hogan

  • 0
  • 0
  • 0

  'Un Pas de Deux, Un Pas de Dieu' is a play depicting a meeting of Thomas Merton, twentieth-century Catholic monk and author, and Anne Bradstreet, one of the first published Puritan poets in New England. The play is set at Gethsemani, the Abbey in Kentucky, where Merton lived for half his life. The time is six months after his death, the day of the publication of his novel, 'My Argument with the Gestapo'. Merton's abiding interest in the publication of this work, a profound statement against war, is a continuing theme throughout the play. Anne Bradstreet recites a portion of her poem "Contemplations" intruding on Merton's solitude, much to his dismay. She is lost and seeking her home and is frightened by this "popish" monastery she has encountered. Thus the dialogue begins and progresses from concern with outer appearances (Merton had no use for Puritans and Bradstreet had a fear of Catholics), which are so different, to their inner lives, which are very similar. There is a realization that they are possibly in Purgatory and an exchange of thoughts on Salvation and God, church, the role of women, of family, of war and, of course, of writing. The play ends with a scene in which the two share bread, wine, and Trappist cheese. The poetry of each writer is used at times in the play. Bradstreet and Merton were witty, erudite individuals and the dialogue throughout shows their humor.

  Show book

• 

  Speed the Plow

  David Mamet

  • 0
  • 0
  • 0

  Jaded Hollywood producer Bobby Gould has spent a career reaping what others sow, until the night he’s forced to choose between his loyal friend’s sure-fire hit and a beautiful girl’s art-house project. During a wicked evening of seduction and manipulation, Bobby discovers that the power he exerts is more elusive than it seems.An L.A. Theatre Works full-cast performance featuring Jeff Goldblum, Adam Arkin and Dina Waters.

  Show book

• 

  Introduction to Henry Mayhew’s...

  David Timson

  • 0
  • 0
  • 0

  David Timson introduces London Labour and the London Poor and its author Henry Mayhew, who in 1841 founded the satirical magazine Punch before his social conscience moved him to expose in his remarkable book the terrible poverty in London – then the richest city in the world.

  Show book

• 

  Ibsen on Theatre

  Frode Helland, Julie Holledge

  • 0
  • 0
  • 0

  A unique collection of everything that Ibsen wrote about the theatre.
  Three new productions of plays by Henrik Ibsen open somewhere in the world every week. Moreover, they are adapted into multiple genres: Chinese and Western Opera, Japanese Noh theatre, puppet plays, musicals, dance performances, tourist spectacles, promenade performances, applied theatre, community events, and every possible screen technology.
  The more successful Ibsen became as a playwright, the more reluctant he was to make public pronouncements about the practice of theatre, but his thoughts on the art form can be gleaned by mining his prefaces, letters, speeches and newspaper articles.
  For the first time, these fragments have been gathered together in one volume. Arranged chronologically, they throw a unique light on Ibsen's views on theatre production, casting, translation, the business of theatre, and most importantly his own plays. The result is an invaluable resource for those who seek to know what Ibsen himself thought about his work and about the theatre of his time.
  Ibsen on Theatre is edited, introduced and annotated by Frode Helland and Julie Holledge, with new translations by May-Brit Akerholt. Also included is a foreword by Richard Eyre.
  Ibsen on Theatre is in the Nick Hern Books ...On Theatre series: what the world's greatest dramatists had to say about theatre, in their own words.
  'For anyone interested in Ibsen's plays—actors, directors, students, audiences—[this is] a marvellously accessible compendium of the thoughts of a man I now unhesitatingly describe as a very great playwright.' Richard Eyre, from his Foreword

  Show book

• 

  Jeff Dunham: Arguing with Myself

  Jeff Dunham

  • 0
  • 0
  • 0

  A comedy event that set the new standard for how truly awesome a comedy special can be. Join Jeff and his outspoken-often-edgy characters: Walter, Peanut, José Jalapeño (...on a steeek!), Bubba J and Sweet Daddy Dee for a live show that will have you on the floor laughing!

  Show book