Follow the yellow brick road in this delightful stage adaptation of L. Frank Baum's beloved tale, featuring the iconic musical score from the MGM film. The timeless tale, in which young Dorothy Gale travels from Kansas over the rainbow to the magical Land of Oz, continues to thrill audiences worldwide. Professional Artwork Available for Your Production of The Wizard of Oz (R.S.C. 1987)! Concord Theatricals has collaborated with Subplot Studio to create high-quality artwork that complies with your license. Promoting your show has never been easier! Learn more at Subplot Studio. There are two full-length versions of The Wizard of Oz: MUNY and RSC. Both include the songs "Over The Rainbow," "Munchkinland (Ding Dong! The Witch Is Dead)," "If I Only Had A Brain/A Heart/The Nerve," "We're Off To See The Wizard (Follow The Yellow Brick Road)," "The Jitterbug," and "The Merry Old Land of Oz." The MUNY version also has "Evening Star." The RSC version also includes "Poppies (Optimistic Voices)" and "If I Were King Of The Forest." This RSC version is a more faithful adaptation of the film. A more technically complex production, it recreates the dialogue and structure of the MGM classic nearly scene for scene, though it is adapted for live stage performance. The RSC version's musical material also provides more work for the SATB chorus and small vocal ensembles. The MUNY Version is more theatrically conservative, employing its stage, actors, singers, dancers, and musicians in traditional ways. Using L. Frank Baum's book - and not the MGM film - as its inspiration, this version employs story and songs as elements of a classic stage musical, adding a bit more humor to the witch and her cronies. The MUNY version does not include Toto, but instead adds new characters, including: Farmhand Joe, Gloria of Oz, Lord Growlie, Tibia (the witch's skeletal assistant), two comical neighboring witches, and the Royal Army of Oz.

A revised and updated edition of Declan Donnellan's bestselling book, a fresh and radical approach to acting by a world-famous director. 'Cuts open every generalisation about acting and draws out gleamingly fresh specifics' Peter Brook 'Explains Donnellan's highly practical system and sheds unique light on one of the greatest directors of acting in our time' Le Monde 'Hugely practical and never gets lost in theory' El Pais 'A gripping read, as acute about the psychology of lying as it is about the art of acting' Guardian 'Rooted in modern theatre, modern psychology and, above all, modern reality' Izvestia 'Unpretentious, straightforward, and pierced with acute insight' Kommersant

Fred Rogers was an international celebrity. He was a pioneer in children's television, an advocate for families, and a multimedia artist and performer. He wrote the television scripts and music, performed puppetry, sang, hosted, and directed Mister Rogers' Neighborhood for more than thirty years. In his almost nine-hundred episodes, Rogers pursued dramatic topics: divorce, death, war, sibling rivalry, disabilities, racism. Rogers' direct, slow, gentle, and empathic approach is supported by his superior emotional strength, his intellectual and creative courage, and his joyful spiritual confidence. The Green Mister Rogers: Environmentalism in "Mister Rogers' Neighborhood" centers on the show's environmentalism, primarily expressed through his themed week "Caring for the Environment," produced in 1990 in coordination with the twentieth anniversary of Earth Day. Unfolding against a trash catastrophe in the Neighborhood of Make-Believe, Rogers advances an environmentalism for children that secures children in their family homes while extending their perspective to faraway places, from the local recycling center to Florida's coral reef. Rogers depicts animal wisdom and uses puppets to voice anxiety and hope and shows an interconnected world where each part of creation is valued, and love is circulated in networks of care. Ultimately, Rogers cultivates a practical wisdom that provides a way for children to confront the environmental crisis through action and hope and, in doing so, develop into adults who possess greater care for the environment and a capacious imagination for solving the ecological problems we face.

Can theatre change the world? If so, how can it productively connect with social reality and foster spectatorial critique and engagement? This open access book examines the forms and functions of political drama in what has been described as a post-Marxist, post-ideological, even post-political moment. It argues that Bertolt Brecht's concept of dialectical theatre represents a privileged theoretical and dramaturgical method on the contemporary British stage as well as a valuable lens for understanding 21st-century theatre in Britain. Establishing a creative philosophical dialogue between Brecht, Walter Benjamin, Theodor W. Adorno and Jacques Ranciere, the study analyses seminal works by five influential contemporary playwrights, ranging from Mark Ravenhill's 'in-yer-face' plays to Caryl Churchill's 21st century theatrical experiments. Engaging critically with Brecht's theatrical legacy, these plays create a politically progressive form of drama which emphasises notions of negativity, ambivalence and conflict as a prerequisite for spectatorial engagement and emancipation. This book adopts an interdisciplinary and intercultural theoretical approach, reuniting English and German perspectives and innovatively weaving together a variety of theoretical strands to offer fresh insights on Brecht's legacy, on British theatre history and on the selected plays. The ebook editions of this book are available open access under a CC BY-NC-ND 4.0 licence on bloomsburycollections.com.

This book provides an overview of the inception, development and achievements of British socialist and workers theatre – a feat which has not been attempted before. It explores the connections between politics and culture (specifically theatre) and between political theory and cultural (theatrical) expression. The book is organized chronologically and uncovers much in labour and theatre history which is in danger of being lost. It can also be seen as a way into different moments in its subject’s story (e.g. post-Ibsen naturalism; agitprop theatre; ‘fringe’ theatre of the 1970s) and the relationship of such forms to specific political events and ideas at specific points in history.

This issue examines how performance curators are responding to today's crises both within the world of theater and performance and in the broader spheres of politics, economics, and history. Interviews with four leading performance curators-Boris Charmatz, Sodja Lotker, Florian Malzacher, and Miranda Wright-explore the evolution of their work in response to changes in funding, audience demographics, and creative practices. A special section, coedited by Sigrid Gareis, features essays from a convening at the 2015 SpielART festival that consider the role of the curator in transnational exchange and in response to issues of postcolonialism. Contributors. Tilmann Broszat, Boris Charmatz, Kenneth Collins, Thomas F. DeFrantz, Sigrid Gareis, Andre Lepecki, Sodja Lotker, Florian Malzacher, Jay Pather, Suely Rolnik, Tom Sellar, Miranda Wright

This book explores the impact that high-profile and well-known translators have on audience reception of translated theatre. Using Relevance Theory as a framework, the book demonstrates how prior knowledge of a celebrity translator's contextual background can affect the spectator's cognitive state and influence their interpretation of the play. Three canonical plays adapted for the British stage are analysed: Mark Ravenhill's translation of Life of Galileo by Bertolt Brecht, Roger McGough's translation of Tartuffe by Moliere and Simon Stephens' translation of A Doll's House by Henrik Ibsen. Drawing on interviews, audience feedback, reviews, blogs and social media posts, Stock examines the extent to which audiences infer the celebrity translator's own voice from their translations. In doing so, he adds new perspectives to the long-standing debate on the visibility of the translator in both the process of translating and the reception of the translation. Celebrity Translation in British Theatre offers an original approach to theatre translation that sheds light on the culture of celebrity and its capacity to attract new audiences to plays in translation.

InkShard is a compendium of articles and social commentary, written by author Eric Muss-Barnes, between 2004 and 2018. Revised and expanded, this volume assembles various topics culled from posts on social media websites to the scripts of video essays. Carefully compiled from the finest of his journalistic work, InkShard represents the definitive collection of Eric's most compelling dissertations and beloved editorials.