In 1964, novelist/screenwriter Terry Southern met actress Gail Gerber on the set of ""The Loved One"". Though they were both married, there was an instant connection and they remained a couple until his death 30 years later. In her memoir, Gail recalls what life was like with 'the hippest guy on the planet' as they traveled from Los Angeles to New York to Europe and back again. She reveals what went on behind the scenes of Southern's movies including ""The Cincinnati Kid"", ""Barbarella"", and ""Easy Rider"". And she relives the 'highs' hanging out with The Rolling Stones and Peter Sellers in swinging '60s London to the lows, barely scraping by on a Berkshires farm during the '70s & '80s.

Put on a pot of your favorite coffee, perk up, and enjoy nostalgic black-and-white photos that celebrate screen icons from the Silent Era through the eighties, making and drinking their own cups of joe, java, pour-overs, and percolated brews. Hollywood Cafe bridges the vibrant coffee culture of right-now with the glamorous coffee culture of the star-studded past. A dream cast of nearly 200 stars-Humphrey Bogart, Marilyn Monroe, Frank Sinatra, Grace Kelly, Audrey Hepburn, Katharine Hepburn, Bette Davis, Clara Bow, Charlie Chaplin, W. C. Fields, Robert Mitchum, Rita Hayworth, Bob Hope, Michael Caine, Jane Fonda, Ava Gardner, Jackie Gleason, Lucille Ball, Elvis Presley, Jayne Mansfield, Sammy Davis Jr., William Holden, Lauren Bacall, John Wayne, and many more-is captured on the set, on the run, in costume and out, behind-the-scenes and at the kitchen table, refilling and refueling, sipping and savoring, drinking the good stuff, just like us.

Emmy Award-winning actress Sharon Gless tells all in this laugh-out-loud, juicy, "unforgettably memorable" (Lily Tomlin) memoir about her five decades in Hollywood, where she took on some of the most groundbreaking roles of her time. Anyone who has seen Sharon Gless act in Cagney & Lacey, Queer as Folk, Burn Notice, and countless other shows and movies, knows that she's someone who gives every role her all. She holds nothing back in Apparently There Were Complaints, a hilarious, deeply personal memoir that spills all about Gless's five decades in Hollywood. A fifth-generation Californian, Sharon Gless knew from a young age that she wanted to be an actress. After some rocky teenage years that included Sharon's parents' divorce and some minor (and not-so-minor) rebellion, Gless landed a coveted spot as an exclusive contract player for Universal Studios. In 1982, she stepped into the role of New York Police Detective Christine Cagney for the series Cagney & Lacey, which eventually reached an audience of 30 million weekly viewers and garnered Gless with two Emmy Awards. The show made history as the first hour-long drama to feature two women in the leading roles. Gless continued to make history long after Cagney & Lacey was over. In 2000, she took on the role of outrageous Debbie Novotny in Queer as Folk. Her portrayal of a devoted mother to a gay son and confidant to his gay friends touched countless hearts and changed the definition of family for millions of viewers. Apparently There Were Complaints delves into Gless's remarkable career and explores Gless's complicated family, her struggles with alcoholism, and her fear of romantic commitment as well as her encounters with some of Hollywood's biggest names. Brutally honest and incredibly relatable, Gless puts it all out on the page in the same way she has lived-never with moderation.

If you ran into Stephen Tobolowsky on the street, you would not be mistaken: Yes, you've seen him before. A childhood dentist? A former geometry teacher? Your local florist? Tobolowsky is a character actor, one of the most prolific screen and stage presences of our time, having appeared in productions that range from Deadwood to Glee, from Mississippi Burning to Groundhog Day. But Stephen Tobolowsky, it turns out, is also a dazzlingly talented storyteller and writer. The Dangerous Animals Clubis a beguiling series of stories combining biography and essay, with a tone both hilarious and introspective. The stories have heroics and embarrassments, riotous humour and pathos, characters ranging from Bubbles the Pigmy Hippo to Stephen's unforgettable mother, and scenes that include coke-fueled parties, Hollywood sets, and hospital rooms. Told in a voice that is "wry, discursive, and full of generous spirit and curiosity" (Kirkus Reviews), Tobolowsky renders the majestic out of the mundane, profundity from the patently absurd, and grace from tragedy. The Dangerous Animals Clubmarks the debut of a massively talented storyteller.

‘A spicy work of biographical conjecture ... It's also a rousing reminder of the countless creative women who have been written out of history or have had to fight relentlessly to make themselves heard.’ EVENING STANDARD ‘The great virtue of Lloyd Malcolm’s speculative history lies in its passion and anger: it ends with a blazing address to the audience that is virtually a call to arms. It is throughout, however, a highly theatrical piece ... In rescuing Emilia from the shades, [the play] gives her dramatic life and polemical potency.’ GUARDIAN The little we know of Emilia Bassano Lanier (1569 - 1645) is that she may have been the Dark Lady of Shakespeare's Sonnets, mistress of Lord Chamberlain, one of the first English female poets to be published, a mother, teacher who founded a school for women, and radical feminist with North African ancestry. Living at a time when women had such limited opportunities, Emilia Lanier is therefore a fascinating subject for this speculative history. In telling her story, Morgan Lloyd Malcolm represents the stories of women everywhere whose narratives have been written out of history. Originally commissioned for Shakespeare's Globe with an all-female cast, Emilia is published here as a Methuen Drama Student Edition with commentary and notes by Elizabeth Schafer, Professor of Drama at Royal Holloway, University of London, UK.

This is the story of a young girl, an Italian immigrant, who was brought to America in hopes of a better life. Times were hard and her parents were forced to take her out of school, at age twelve and send her to work in one of the woolen mills in Lawrence Massachusetts. While there, she endured a devastating accident that would forever alter her life and that of her family. The repercussions would extend far beyond anything that could be imagined. Carmela Teoli, after spending seven months in a hospital, would go on to testify to a Congressional Committee about the conditions under which she, and the other children, had been forced to work. Her words had the power to influence many people including the First Lady, Helen Taft, who had been in attendance at the hearings. Mrs.Taft quickly took Carmela under her wing to the extent of inviting her to spend the night at The White House. Clothing, a warm bed and a delicious dinner were all provided for her. Carmela conversed freely with The President and his wife that evening about everything that she and her family had been through. The next day she would meet with more congressional members where she could further relay her plight. Following the Congressional testimony, working people were entitled to better conditions. The Bread and Roses strike of 1912 had made an impact on labor regulations as had the testimonies of the children.

For more than 30 years, Gavin MacLeod has served as the global ambassador for Princess Cruises. Speaking to thousands of travelers each year, and signing hundreds of autographs at every port, he stands poised to celebrate his amazing journey with a look back at the golden era of American television. The consummate storyteller, Gavin shares his fondest memories of meeting and working with countless stars, such as Cary Grant, Steve McQueen, Gregory Peck, Bette Davis, Frank Sinatra, Ethel Merman, Ella Fitzgerald, Ronald Reagan, Milton Berle, and Fred Astaire. From his humble theatrical beginnings in upstate New York, to Radio City Music Hall and on to Hollywood, Gavin MacLeod was on the fast track to success. However, a few hard life lessons-like dealing with a divorce-taught Gavin that the key to happiness was only through a deep faith in God, and he feels his work for Christ is more important than any award. Three years later his remarriage proved that a great struggle can culminate in a happy ending.

This reference summarizes and overviews the life and career of Katharine Cornell, one of the foremost actresses of the American stage from 1920 to 1960. The book begins with a biography that briefly discusses Cornell's life and achievements. A chronology then outlines the most significant events in her career. The chapters that follow provide detailed information on her stage appearances and radio, film, and television work. The credits, casts, synopses, brief histories, commentaries, and selected critical reviews are included for each of the plays in which she appeared. An extensive bibliography of books, journals, newspaper articles, and reviews provides a list of additional information about Cornell's life and career. Appendices list her awards and honors, the plays and films in which she declined to appear, and works authored by her.

Kinaesthesia and Visual Self-reflection in Contemporary Dance features interviews with UK-based professional-level contemporary, ballet, hip hop, and breaking dancers and cross-disciplinary explication of kinaesthesia and visual self-reflection discourses. Expanding on the concept of a 'kinaesthetic mode of attention' leads to discussion of some of the key values and practices which nurture and develop this mode in contemporary dance. Zooming in on entanglements with video self-images in dance practice provides further insights regarding kinaesthesia's historicised polarisation with the visual. It thus provides opportunities to dwell on and reconsider reflections, opening up to a set of playful yet disruptive diffractions inherent in the process of becoming a contemporary dancer, particularly amongst an increasingly complex landscape of visual and theoretical technologies.

(Applause Books). Bill Marx is the last living person to have worked professionally with the three Marx Brothers, his uncles Chico and Groucho and his father, Harpo Marx. Because Chico and Groucho had siblings that had written about them, Bill Marx wanted to complete the Marx Brothers' literary trifecta by authoring a book about the personal and professional relationships that he had with his father. Son of Harpo Speaks , in addition to offering a unique perspective of a very special man and revealing many stories never before in print, is also a book about a "too-Hollywood-to-believe" life-altering quirk of fate that ultimately brought him together with his parents. The background for this remarkable revelation unfolded unassumingly over a glass of wine and some conversation in the famous 1960s nightclub, Dino's Lodge, on Hollywood's Sunset Strip. It would subsequently lead the author to explore the complex life task of dealing with his emotional scars of rejection and the secure feelings of acceptance, the latter due to his overwhelmingly good fortune of having been adopted by two loving parents. Plenty of "show-biz" and "sizzle" are also sprinkled throughout to make for a very enjoyable read.

Every artist has a dream project an enterprise that he or she has continuously taken up but never completed. Via archived notes and drafts, a retrospective reconstitution of such projects can serve as a key for better understanding the authors artistic corpus. The present study reaches out to the authorship of Paul Claudel, Jean Genet, and Federico Fellini. Claudel deferred and never completed the fourth segment of his Trilogie des Coufontaine. The only indication of the existence of this prospective fourth part of the theatre sequence is a brief entry in his Journal. In 1949, he began writing a third version of his first great work Tete dOr. Like the unfinished fourth section that was to be added to the trilogy, the draft of the third version of Tete dOr reveals a dialogue between the Old and New Testaments a theme that appears to be central to Claudels entire corpus. Genet labored over La Mort for many years. At the conclusion of Saint Genet, comedien et martyr (1952), Sartre mentions this final work of Genet. Genet discussed his progress on La Mort in correspondence and even published Fragments of La Mort in the literary magazine Les Temps Modernes. While the project never came to fruition, it nevertheless remains an important means through which to understand Genets work. The aborted production of Fellinis Voyage de G. Mastorna has become a legend. After 8" and Giulietta degli spiriti, Fellini wrote a screenplay that he began to film but subsequently abandoned, much to the chagrin of producer Dino de Laurentiis who had already invested in sets and costumes. Fellini would often revisit this project, but never completed it. This book also examines additional dream projects taken from different art forms: poetry (Mallarmes Le Livre); literature (Vignys Daphne); painting (Monets Nympheas); music (Schoenbergs Moses und Aron); and various films (Clouzots LEnfer, Viscontis La Recherche, Kubricks Napoleon, etc.).

Say 'Eh-oh!' to Nikky Smedley and Laa-Laa Over the Hills and Far Away follows Nikky through the Teletubbies years, from her role as a bistro table during her audition to the show's international success and the accompanying hounding by the press. In this warm, funny, affectionate look back at life on the Teletubbies set, Nikky reveals all, including tales about dogs and asthma, raging arguments about fruit, and the games the cast and crew played to amuse themselves during long shoots in their massive costumes. Join Nikky and Laa-Laa on their extraordinary journey from the very beginning to handing the torch to another performer for the next generation.

Welcome to The Empire theatre 1922. When Jack Treadwell arrives at The Empire, in the middle of a rehearsal, he is instantly mesmerised. But amid the glitz and glamour, he soon learns that the true magic of the theatre lies in its cast of characters - both on stage and behind the scenes. There's stunning starlet Stella Stanmore and Hollywood heartthrob Lancelot Drake; and Ruby Rowntree, who keeps the music playing, while Lady Lillian Lassiter, theatre owner and former showgirl, is determined to take on a bigger role. And then there's cool, competent Grace Hawkins, without whom the show would never go on . . . could she be the leading lady Jack is looking for? When long-held rivalries threaten The Empire's future, tensions rise along with the curtain. There is treachery at the heart of the company and a shocking secret waiting in the wings. Can Jack discover the truth before it's too late, and the theatre he loves goes dark? Musical theatre legend Michael Ball brings his trademark warmth, wit and glamour to this, his debut novel. Enjoy the show! Real readers love The Empire 'A charming, captivating, majestic, electrifying, exciting and dazzling masterpiece' 'This book was perfect' 'The Empire is fantastic read, and one of my favourites of this year!' 'A real razzmatazz of a read' 'What a wonderful book, as full of warmth and wit as Michael himself . . . absolute magic!' The Empire was a Sunday Times No. 3 bestseller for w/c 24/10/2022'