Rodgers + Hammerstein's Cinderella is the new Broadway adaptation of the classic musical. This contemporary take on the classic tale features Rodgers & Hammerstein's most beloved songs, including "In My Own Little Corner," "Impossible/It's Possible" and "Ten Minutes Ago," alongside an up-to-date, hilarious and romantic libretto by Tony Award-nominee Douglas Carter Beane. Originally presented on television in 1957 starring Julie Andrews, Rodgers & Hammerstein's Cinderella was twice remade for television, first in 1965 for Lesley Ann Warren and again in 1997, featuring Brandy and Whitney Houston. The original Broadway production of Rodgers + Hammerstein's Cinderella opened in 2013 and starred Laura Osnes, Santino Fontana, Victoria Clark and Harriet Harris. Nominee: Nine 2013 Tony Awards, including Best Book of a Musical and Best Revival of a Musical Winner! 2014 Tony Award for Best Costume Design for a Musical Winner! Three 2013 Drama Desk Awards, including Outstanding Orchestrations

Puede un cristiano entrar en depresi n intensa? Esta historia real de una mujer Cristiana que lo vivi y lo sufri por a os, te demostrara no solamente como llego a depresi n intensa, pero como Dios la levanto de un lugar donde ya no hab a esperanza humana. No te pierdas esta fuerte pero conmovedora historia de amor y de esperanza.

At one time or another, as creatures of creation, we will all face a storm. The storm may be rocky, or it may be smooth. It is up to us as beings of existence to recognize when a storm is approaching. We all deal with our storms in our own personal manners of difference.

The Strong's, is a story of a family who faced many storms. No matter how great, their faith remarkably carried them through each and every storm. Walking into a storm blindsided, indubitably causes destruction, pain, and even death. As with any other challenge, preparation is the key in overcoming unbearable situations.

We must ask ourselves, if a mighty and great storm came into our lives today, would we be able to weather it?

In the early Elizabethan period, nine of the ten tragedies attributed to the ancient Roman statesman, philosopher, and playwright Seneca (c. 1 BCE-65 CE) were translated for the first time into English, and these translations shaped Seneca's dramatic legacy as it would be known to later authors and playwrights. This edition enables readers to appreciate the distinct style and aims of three milestone translations: Jasper Heywood's 'Troas' (1559) and 'Thyestes' (1560), and John Studley's 'Agamemnon' (1566). The plays are presented in modern spelling and accompanied by critical notes clarifying the translators' approaches to rendering Seneca in English. The introduction provides important context, including a survey of the transmission and reception of Seneca from the first through to the sixteenth century and an analysis and comparison of the style of the three translations. James Ker is Associate Professor of Classical Studies at the University of Pennsylvania. He is the author of The Deaths of Seneca (2009), A Seneca Reader (2011), and articles on Greek and Roman literature. Jessica Winston is Professor of English at Idaho State University. She is the author of numerous articles on early Elizabethan literature and the Elizabethan reception of Seneca.

This saga begins where Harbingers of Spring left off. Jack Newsum starts a crime watch chapter and mentoring program for young people at risk from his home in Potomac, Maryland. As the Newsums vacation at their country estate in North Carolina, Jack is shot after a round of golf for interfering in a bank robbery when he overhears a conversation between his caddy Isaac Quincy, known as Slim, and his friend, Walker. Slim takes an extraordinary turn when he protects Jack from further harm. Everything is spun into lethal orbit when Slim fails to go along with Walker's plan to execute a second attempt. A love interest ensues between Slim and Jack's niece, Wendy Newsum, when she visits Jack in the hospital. Jack takes that opportunity to help Slim move in the right direction. But Jack's wife, Christi, unleashes her growing trepidation, which leads her to suspect Slim of being part of a scheme with his criminal father to kill his grandmother for insurance money, which would coincide with his father's prison release. Walker blames Jack for the bank robbery disruption and continues his quest for revenge. Fulfilling his vengeful escapades leads to his accidental death. Geraldine Claire has addressed a nearly universal question when she reveals the forces harmfully confined when 'unhealthy influences' stifle growing individuals.

Good intentions collide with absurd assumptions in Larissa FastHorse's wickedly funny satire, as a troupe of terminally "woke" teaching artists scrambles to create a pageant that somehow manages to celebrate both Turkey Day and Native American Heritage Month.

The timeless enchantment of a magical fairy tale is reborn with the Rodgers & Hammerstein hallmarks of originality, charm, and elegance. Originally presented on television in 1957 starring Julie Andrews, Rodgers & Hammerstein's Cinderella was the most widely viewed program in the history of the medium. Its re-creation in 1965 starring Lesley Ann Warren was no less successful in transporting a new generation to the miraculous kingdom of dreams-come-true, and so was a second remake in 1997, which starred Brandy as Cinderella and Whitney Houston as her Fairy Godmother. In 1956 Richard Rodgers and Oscar Hammerstein II were indisputably the world's most successful writers of musicals. Julie Andrews was a sparkling new star, having just triumphed in My Fair Lady. When her agent approached Rodgers and Hammerstein and suggested that the television audience would welcome a musical version of "Cinderella," it was an irresistible temptation for all. Everything about the project was right from the start. The CBS production team was quickly assembled. Richard Lewine, a distant cousin of Rodgers and a close friend, was the producer, Ralph Nelson the director. Howard Lindsay and his wife, Dorothy Stickney, were signed for the King and Queen; Jon Cypher played the Prince; the Stepmother and Stepsisters were made less frightening and more comic by Ilka Chase, Kaye Ballard and Alice Ghostley; rather than the standard old crone, the beautiful Edie Adams played the Godmother. Rodgers and Hammerstein approached the story with the honesty and simplicity that characterized all their work. They purposely did not seek to improve a story they felt was dramatically sound, as many writers are prone to do, instead concentrating on bringing the characters to life. Rodgers wrote in his autobiography Musical Stages, "In writing the story and the songs, Oscar and I felt that it was important to keep everything as traditional as possible, without any 'modernizing' or reaching for psychological significance." When Hammerstein was asked where he found the version of Cinderella story he based his adaptation upon, he answered, "I looked it up in the encyclopedia." The marriage of music, lyrics and story in Cinderella exemplified their artistic philosophy; all elements held together integrally to illuminate the characters. As Rodgers explained, "Although a few of its songs have become popular, our score for Cinderella is another example of what theatre music is really about. No matter what the medium, a score is more than a collection of individual songs. It is, or should be, a cohesive entity whose word and music are believable expressions of the characters singing them...Like a symphony, concerto or opera, some portions have greater appeal than others, but it is the work as a whole that makes the overall impression." Cinderella succeeded. When it was broadcast on March 31, 1957, it was viewed by more people than any other program in the history of television.

In the fictional mining town of Greater Clements, Idaho, wealthy out-of-staters have begun purchasing properties, leaving lifelong residents - largely blue-collar workers - disenfranchised and disenchanted. Practical, unpretentious Maggie, the divorced owner of a failing Mine Tour and Museum business, cares for her troubled adult son, who has moved back home to recover. As Maggie contemplates closing her business, an old flame visits and asks her to join him in a new life beyond the desolate town's limits. Through quirky humor, keen observation, and deeply sensitive and idiosyncratic characters, Greater Clements explores just how hard it can be to leave one's past behind.

The old songs will have to change.
No more hymns to our faithlessness and deceit.
Apollo, god of song, lord of the lyre,
never passed on the flame of poetry to us.
But if we had that voice, what songs
we'd sing of men's failings, and their blame. History is made by women, just as much as men.
Medea has been betrayed. Her husband, Jason, has left her for a younger woman. He has forgotten all the promises he made and is even prepared to abandon their two sons. But Medea is not a woman to accept such disrespect passively. Strong-willed and fiercely intelligent, she turns her formidable energies to working out the greatest, and most horrifying, revenge possible.
Euripides' devastating tragedy is shockingly modern in the sharp psychological exploration of the characters and the gripping interactions between them. Award-winning poet Robin Robertson has captured both the vitality of Euripides' drama and the beauty of his phrasing, reinvigorating this masterpiece for the twenty-first century.

Sephy and Callum sit together on a beach. They are in love. It is forbidden. Sephy is a Cross and Callum is a Nought. Between Noughts and Crosses there are racial and social divides. A segregated society teeters on a volatile knife-edge. As violence breaks out, Sephy and Callum draw closer, but this is a romance that will lead them into terrible danger. This gripping Romeo and Juliet story by acclaimed writer Malorie Blackman is a captivating drama of love, revolution and what it means to grow up in a divided world. Sabrina Mahfouz's stage adaptation first toured the UK in 2019 and won the Excellence in Touring category at the UK Theatre Awards. It was commissioned and presented by Pilot Theatre in co-production with Derby Theatre, Belgrade Theatre Coventry, Mercury Theatre Colchester and York Theatre Royal.

An Inspector Calls, first produced in 1946 when society was undergoing sweeping transformations, has recently enjoyed an enormously successful revival. While holding its audience with the gripping tension of a detective thriller, it is also a philosophical play about social conscience and the crumbling of middle class values. Time and the Conways and I Have Been Here Before belong to Priestley’s ‘time’plays, in which he explores the idea of precognition and pits fate against free will. The Linden Tree also challenges preconceived ideas of history when Professor Linden comes into conflict with his family about how life should be lived after the war.

"The Anger of Unfulfillment: Three Plays Out of Nigeria" presents a collection of three plays intended to capture a great deal of what Nigeria has come to represent today. Each play in this compilation has its own distinctive flavour, seasoned by the circumstantial socio-political variables holding sway in the country at the time it was written.

""The Anger of Unfulfillment"" examines the complex and multi-faceted phenomenon of human trafficking, especially in women and girls. The play's principal characters take us through a serious but often irreverent roller-coaster discourse on the Nigerian state.

The thematic preoccupation of ""Hell's Invitation"" is the social death in Nigeria that is associated with HIV. This stigma, driven by ignorance, scares Nigerians away from learning their HIV status and consequently strips them of the opportunity to seek early treatment. Through the musings and antics ofcharacters such as Aliyu, Emeka, Stella, and Bimbo, you can experience the social stigma through the eyes and souls of the average Nigerian.

""This Time Tomorrow"" presents a comicportrait of Nigerians and their approach to politics and nation-building. Through the voices of the principal characters, it serves as a call to the Nigerian people to take control of their destiny through active engagement and participation.