On 2 January 2013, just a day before Jim Davidson was due to enter the Celebrity Big Brother house, he found himself behind far more serious locked doors when he was arrested by the Yewtree detectives over alleged sex offences. Twelve months later, the public voted to crown Jim Davidson as the winner of the latest series of Celebrity Big Brother. Finally, with all charges dropped and no further action being taken, and with the public offering him their staunch support, Jim can finally look back on his year from hell. Facing a series of damaging false allegations, Jim was forced to fight, not just for his reputation and his career, but for his freedom too. Mounting legal costs and a deepening sense of injustice saw Jim sink to the lowest point of his career as the Yewtree investigation threatened to ruin him both financially and emotionally. Finally, after months of pain came the words he and his supporters had been waiting to hear: No Further Action. Now, with the public's approval, Jim reflects on this painful period with the regular dose of wit and humour that have made him so successful. Searingly honest, No Further Action pays tribute to those who stood by him and takes a wry look at what life is like under investigation in the public eye.

Eubanks Winkler and Schoch reveal how - and why - the first generation to stage Shakespeare after Shakespeare's lifetime changed absolutely everything. Founder of the Duke's Company, Sir William Davenant influenced how Shakespeare was performed in a profound and lasting way. This open access book provides the first performance-based account of Restoration Shakespeare, exploring the precursors to Davenant's approach to Restoration Shakespeare, the cultural context of Restoration theatre, the theatre spaces in which the Duke's Company performed, Davenant's adaptations of Shakespeare's plays, acting styles, and the lasting legacy of Davenant's approach to staging Shakespeare. The eBook editions of this work are available open access under a CC BY-NC-ND 4.0 licence on bloomsburycollections.com. Open access was funded by Queens University Belfast.

Dramaturgy is at the heart of any musical theatre score, proving that song and music combined can collectively act as drama. The Musical Theatre Composer as Dramatist: A Handbook for Collaboration offers techniques for approaching a musical with the drama at the centre of the music. Written by a working composer of British musical theatre, this original and highly practical book is intended for composers, students of musical theatre and performing arts and their collaborators. Through detailed case studies, conceptual frameworks and frank analysis, this book encourages the collaboration between the languages of music and drama. It offers a shared language for talking about music in the creation of musical theatre, as well as practical exercises for both composers and their collaborators and ways of analysing existing musical theatre scores for those who are versed in musical terminology, and those who are not. Speaking directly to the contemporary artist, working examples are drawn from a wide range of musicals throughout Part One, before a full case study analysis of Matilda the Musical brings all the ideas together in Part Two. Part Three offers a range of practical exercises for anyone creating new musicals, particularly composers and their collaborators.

From the stage of the Grand Ole Opry to concert halls around the world, and on television's "Hee Haw" and "Prime Time Country," Cousin Minnie Pearl entertained fans and friends with her stories about Grinder's Switch and her jokes. Now you can recall the best of them, such as . . .

• This week we decided we'd better take Brother up to Nashville and try to get him a job. So I took him to one of the places and the man said he'd give Brother a job. He said, "I can start you at thity dollars a week and in five years you'll get two hundred " Brother said, "That's fine. I'll be back in five years "
• Mr. Smith, a seventy-five-year-old multimillionaire, just married a young, beautiful eighteen-year-old girl. A friend asked, "How did you get an eighteen-year-old to marry you when you're seventy-five?" The man said, "I told her I was ninety-five "

Also included are memories of Minnie by . . .

• Porter Wagoner
• Ralph Emery
• Bill Anderson
• Johnny Russell
• Little Jimmy Dickens
• Jimmy C. Newman