On a sunny afternoon in August of 1970, the Eastern Caribbean was, without warning, confronted with a terrible and tragic event. The Christena, a well-used ferry that regularly crossed the eleven-mile expanse between the twin islands if St. Kitts and Nevis sank. The two British colonial societies were suddenly thrown into turmoil, finding themselves unprepared to deal with such sudden tragedy. The ferry was registered to carry 155 passengers, but it was severely overloaded. While ninety-nine people survived that afternoon, nearly 250 other passengers perished disaster.

As if their struggle to heal after the tragedy was not taxing enough, the islands had yet more adversity to conquer. However, both societies were determined to overcome that terrible event, even as they fought to achieve greater political independence.

Told from the perspective of Whitman T. Browne, PhD, a native if Nevis, who lived on the island at the time of the tragedy. "The Christena Disaster Forty-Two Years Later" is a moving, firsthand account of how these sister communities banded together, not only to win their political autonomy, but also to overcome their emotional suffering as a result of greater tragedy.

Charles Jeremiah Wells (1798-1879) was an English poet. in 1875, Algernon Charles Swinburne wrote a study of Joseph and His Brethren (originally produced in 1824) in the Fortnightly Review and the drama was reprinted in 1876.

A collection of three radio plays, including a Poirot story, for live performance comprised of Personal Call, Yellow Iris, and Butter in a Lordly Dish. Personal Call sees James Brent haunted by his dead wife when he receives a mysterious telephone call, seemingly from beyond the grave. Yellow Iris marked Hercule Poirot's debut appearance on radio in which the famous detective is called to the hotel Jardin des Cygnes to solve an old case in which a cold-blooded killer escaped justice and slipped through his fingers. Butter in a Lordly Dish sees eminent prosecution barrister Sir Luke Enderby get his comeuppance in one of Christie's most gruesome and horrifying murders.

Susie Salmon is just like any other young girl. She wants to be beautiful, adores her charm bracelet and has a crush on a boy from school. There's one big difference though - Susie is dead. Now she can only observe while her family manage their grief in their different ways. Her father, Jack is obsessed with identifying the killer. Her mother, Abigail is desperate to create a different life for herself. And her sister, Lindsay is discovering the opposite sex with experiences that Susie will never know. Susie is desperate to help them and there might be a way of reaching them... Alice Sebold's novel The Lovely Bones is a unique coming-of-age tale that captured the hearts of readers throughout the world. Award-winning playwright Bryony Lavery has adapted it for this unforgettable play about life after loss.

George Bernard Shaw (1856-1950) won the Nobel Prize in Literature in 1925 and was one of the great literary minds of his day, in addition to being one of its most entertaining personalities. In his youth he became an ardent socialist and wrote five novels, which are still very entertaining, although Shaw truly found his creative identity on the stage and lectern. While he was a great dramatist, it is possible to argue that Shaw's prefaces are better than his plays. Certainly they are masterful expositions of his ideas, and among the finest essays in English. If there is one defining virtue in Shaw, it is his ability to ask awkward questions. He was not someone who accepted the status quo; instead he spent the whole of his very long life in search of something better, as wit, critic, curmudgeon, and revolutionary. Among his greatest plays are CAESAR AND CLEOPATRA, MAN AND SUPERMAN, BACK TO METHUSELAH, SAINT JOAN, MAJORA BARBARA, PYGMALION (the basis for the musical -- and film -- MY FAIR LADY), and ANDROCLES AND THE LION. He wrote voluminously on social and political issues. His THE INTELLIGENT WOMAN'S GUIDE TO SOCIALISM (1928) was enormously popular at the time. He continued to publish until nearly the end of his life. Among his last works are SIXTEEN SELF-SKETCHES (1948), BOUYANT BILLIONS (1948) and FAR-FETCHED FABLES (1950).

The Servant of Two Masters - rough and tumble, lightning paced world of street theatre and strolling players - is the crowning glory of the Commedia del'Arte tradition that so influenced Shakespeare's comedies and western theatrics. Truffaldino couldn't be happier with his change of circumstance balancing two jobs and earning double the wage. But his 'masters' turn out to be separated lovers on the run staying at the same inn. Hoop-la and hilarity take hold in this comedy of love gone wrong and mistaken identity in romantic Venice. This version of the play was produced by Bell Shakespeare - to critical acclaim - in 2003 with a return season in 2004.

PHOTOGRAPHIC MAKE-UP HARRY ROY Photograph by the Author PHOTOGRAPHIC MAKE-UP By JACK EMERALD Associate Institute of British Photographers Associate Royal Photographic Society FOUNTAIN PRESS - LOJtfDON CONTENTS Page Foreword by MAX FACTOR, JR 9 Introduction . . . . . . . . . . . . - - 13 Section One BASIC MAKE-UP TECHNIQUE Make-up for Women . . . . . . . . - - 17 Technique of Application . . . . . . . - 17 Application of Foundation Make-up . . . . . . 18 Pan-Cake Make-up Foundation . . . . - - 19 Pan-Stik Make-up 19 Highlighting . . . . . . . - - 20 Eye-shadow . . . . . . . - 21 Powdering . . . . . . - . . - - 22 Re - shaping Eyebrows . . . . . . - . - - 23 Lip-Colour and Its Use . . . . . . 23 Mascara and Its Use 30 Make-up for Men . . . . . - 31 Section Two CORRECTIVE TECHNIQUE Face Shapes . . . . - 35 Re-modelling Triangular Face Contours . . . . 36 Foundation Colour for the Triangular Face . . . . 37 Re-modelling the Inverted Triangle Face . . . . 38 Re-modelling the Round Face 42 Re-modeElng the Square Face 42 Re-modelling the Chin - - - 44 Re-styling Eyes 45 Re-shaping the Nose . . . . . . . - 50 Making up the Lips . . . . . . . . - 52 General Points for Lip Re-styling 54 Removal of Wrinkles . . . . . . . . . . 54 Summary . . . . . . - - - - 57 Section Three CHARACTER MAKE-UP Crepe Hair 61 Applying Hair to the Face . . . . . . . . 63 Creating a Beard with Crepe Hair . . . . ., 63 A Most Exacting Example . . . . . . . . 68 A Make-up Expert 69 Reconstructing the Facial Structure . . . . . . 76 Partial Reconstruction . . . . . . 77 Creating Old-Age Effects 77 Old-Age Make-up . . . . . . . . - - 77 Flexible Collodion 80 Non-flexible Collodion 80 Collodion and Cotton Wool Make-up . . .. . . 81 Creating Scars and Wounds . . . . . . . . 90 Indian Make-up . . . . . . . . . . . 91 Bald-Head Make-up 94 Chinese Make-up . . . . . . . . . . 95 Max Factor Make-up Chart for Black and White Photo graphy . . . . . . . . - . . . 96 Section Four MAKE-UP IN COLOUR PHOTOGRAPHY Corrective Make-up . . . . . - - - 99 Application of Make-up for a Colour Photograph . . 101 Applying Eye-shadow . ., . . . - 102 Applying Cheek Rouge .......... 104 The Use of Powder .......... 104 Completion of Eye Make-up . . . . . . - - 105 Re-styling the Lips .......... 106 Max Factor Make-up for Colour Photography . . 108 Section Five CLINICAL MAKE-UP Facial Disfigurements . . . . . 109 Make-up Treatment .. .. . - HO Treatment of Birthmarks ........ HI Treatment for Other Skin Conditions . . . . - . HI INDEX The Author gratefully acknowledges the help he has received from many sources, with special thanks to MAX FACTOR LIMITED, HOLLYWOOD AND LONDON UNIVERSAL-INTERNATIONAL FILMS OF AMERICA GENERAL FILM DISTRIBUTORS CENTRAL OFFICE OF INFORMATION CROWN FILM UNIT CINEGUILD LIMITED B. B. C. TELEVISION SERVICE GEORGE BLACKLER, Esq., P1NEWOOD STUDIOS ERNEST TAYLOR, Esq., EALING FILM STUDIOS ERIC CARTER, Esq., PINEWOOD STUDIOS THE professional photographer has long been aware that the advantages of the art of make-up can apply to portrait photography as much as to cinematography. But many amateur photographers are not so cognisant of how skilled practice in make-up can greatly increase the excellence of their own portrait photography. Or, even if they are conscious of these advantages, they tend to overestimate the difficulties involved in making up their pictures subjects. The result is that they continue toignore the possibilities of make-up. Make-up must begin where nature has left off. Com plexions and facial characteristics diffei, and every individual presents a different problem. The function of make-up, in photography of any sort, is to fit the face dramatically for the part or pose to be portrayed. In motion picture work, this regularly presents an interest ing challenge to the make-up artist, and it can offer an equally inspiring one to the photographer...

Polyneices and Eteocles, two brothers leading opposite sides in Thebes' civil war, have both been killed in battle. Creon, the new ruler of Thebes, has declared that Eteocles will be honored and Polyneices disgraced. The rebel brother's body will not be sanctified by holy rites, and will lay unburied to become the food of carrion animals. Defying Creon's edict Antigone buries her brother and in so doing unleashes a terrible tragedy.

George Bernard Shaw (1856-1950) won the Nobel Prize in Literature in 1925 and was one of the great literary minds of his day, in addition to being one of its most entertaining personalities. In his youth he became an ardent socialist and wrote five novels, which are still very entertaining, although Shaw truly found his creative identity on the stage and lectern. While he was a great dramatist, it is possible to argue that Shaw's prefaces are better than his plays. Certainly they are masterful expositions of his ideas, and among the finest essays in English. If there is one defining virtue in Shaw, it is his ability to ask awkward questions. He was not someone who accepted the status quo; instead he spent the whole of his very long life in search of something better, as wit, critic, curmudgeon, and revolutionary. Among his greatest plays are CAESAR AND CLEOPATRA, MAN AND SUPERMAN, BACK TO METHUSELAH, SAINT JOAN, MAJORA BARBARA, PYGMALION (the basis for the musical -- and film -- MY FAIR LADY), and ANDROCLES AND THE LION. He wrote voluminously on social and political issues. His THE INTELLIGENT WOMAN'S GUIDE TO SOCIALISM (1928) was enormously popular at the time. He continued to publish until nearly the end of his life. Among his last works are SIXTEEN SELF-SKETCHES (1948), BOUYANT BILLIONS (1948) and FAR-FETCHED FABLES (1950).

This is Tom Stoppard's award-winning play, set in Derbyshire. The orderly classicism of Lady Croom's Capability Brown grounds are being turned into picturesque romantic chaos, as fashion dictates, by landscape architect "Culpability Noakes". In a Regency room overlooking the work is Lady Croom's brilliant adolescent daughter - Thomasina Coverly, with her handsome, clever tutor Septimus Hodge. Their maths lesson is disturbed by, among others, the imperious, amorous Lady Croom and Ezra Chater, a cuckold and minor poet, determined on satisfaction. One hundred and eighty years later, in the same room, a corresponding group, comprising a mathematician, a biographer/historian, and a vulgar academic, try to unravel the events of 1809 - with spectacularly wrong results.

The Peaceful brothers, Tommo and Charlie, have a tough rural childhood facing the death of their father, financial hardship and a cruel landlord. Their fierce loyalty to each other pulls them through, until one day they both fall for the same girl. And then the Great War comes. It tells the story of a country lad fighting a war he doesn't understand for people he cannot respect. We join 18-year-old Private Tommo Peaceful in the trenches as he tells us a story of courage, devotion and sibling rivalry on what may be his last night on earth. Private Peaceful was shortlisted for the Carnegie Medal, won the Red House Children's Book Award and the Blue Peter Book Award and is acknowledged by Michael Morpurgo (War Horse, The Butterfly Lion) to be his favourite work. This new, small ensemble version by Simon Reade was commissioned by Nottingham Playhouse.

Ruth Finnegan's Oral Literature in Africa was first published in 1970, and since then has been widely praised as one of the most important books in its field. Based on years of fieldwork, the study traces the history of storytelling across the continent of Africa. This revised edition makes Finnegan's ground-breaking research available to the next generation of scholars. It includes a new introduction, additional images and an updated bibliography, as well as its original chapters on poetry, prose, "drum language" and drama, and an overview of the social, linguistic and historical background of oral literature in Africa. This book is the first volume in the World Oral Literature Series, an ongoing collaboration between OBP and World Oral Literature Project. A free online archive of recordings and photographs that Finnegan made during her fieldwork in the late 1960s is hosted by the World Oral Literature Project (http: //www.oralliterature.org/collections/rfinnegan001.html) and can also be accessed from publisher's website.

The Cratylus has always been a source of perplexity to the student of Plato. While in fancy and humour, and perfection of style and metaphysical originality, this dialogue may be ranked with the best of the Platonic writings, there has been an uncertainty about the motive of the piece, which interpreters have hitherto not succeeded in dispelling. We need not suppose that Plato used words in order to conceal his thoughts, or that he would have been unintelligible to an educated contemporary. In the Phaedrus and Euthydemus we also find a difficulty in determining the precise aim of the author. Plato wrote satires in the form of dialogues, and his meaning, like that of other satirical writers, has often slept in the ear of posterity.

Umberto Menotti Maria Giordano (1867-1948) was an Italian composer, mainly of operas, best known for his opera based on the life of the French poet, Andre Chenier. Luigi Illica (1857-1919) was an Italian librettist who also wrote for Giacomo Puccini and is best known for the libretti of La boheme, Tosca, and Madama Butterfly.

LaShae "Shae" Byrts is a hot commodity in her hood. Using her body and beauty has earned her the title, "Project Queen." She's got it and was born to flaunt it She's determined to break away from her abusive mother, and leave her impoverished lifestyle far behind. When she begins dating a notorious drug dealer, she assumes all of her problems are over. She couldn't be further from the truth. She finds out that beauty is only skin deep, and all of the money, spinning rims, and glitter, can come at a violent price.

Octavia is a work of exceptional historical and dramatic interest. It is the only surviving complete example of the Roman historical drama known as the fabula praetexta. Written shortly after Nero's death by an unknown author, the play deals with events at the court of Nero in the decisive year 62 CE, for which it is the earliest extant (almost contemporary) literary source; its main themes are sex, murder, politics, power and the perceptions and constructions of history. It is a powerful, lyrical and spectacular play. This is the first critical edition of Octavia, with verse translation and commentary, which aims to elucidate the text dramatically as well as philologically, and to locate it firmly in its historical and theatrical context. The verse translation is designed for both performance and serious study.

America in the mid-1980s. In the midst of the AIDS crisis and a conservative Reagan administration, New Yorkers grapple with life and death, love and sex, heaven and hell. Originally premiered in Britain at the National Theatre, London, where it won the Evening Standard Best Play Award, Tony Kushner's Angels in America went on to win two Tony Awards and the Pulitzer Prize for Drama. This volume contains both Part One: Millennium Approaches and Part Two: Perestroika, plus 45 pages of bonus material including a new introduction by the playwright, a full production history, deleted scenes, and notes on staging. It was published alongside a new production in 2017 at the National Theatre, London, directed by Marianne Elliott and starring Andrew Garfield, Denise Gough, Nathan Lane, James McArdle and Russell Tovey.