In 1970, renowned writer-composer-lyricist Leslie Bricusse adapted the classic Charles Dickens tale, A Christmas Carol, into the hit screen musical "Scrooge!". Now available as a charming stage musical, Scrooge! has enjoyed a hugely successful tour of England and a season at London's Dominion Theatre starring the late Anthony Newly. Included are six new songs not performed in the film. Now this sure-fire audience pleaser is available in two versions: as a full-length musical and in a 55-minute adaptation that is ideal for small theatre groups and schools, where it can be performed as a short play or as part of a seasonal concert.Large flexible cast

Swortzell has constructed a seminal reference work that chronicles the history, current state of artistic achievement, and foremost future needs of children's theater in 44 different countries. . . . an excellent first resource for diverse forms of research, and quite accessible to both undergraduate and graduate students. "Choice"

After a visit to the Children's Educational Theatre in New York City, the first American theatre intended specifically for children and adolescents, Mark Twain declared that children's theatre is one of the very, very great inventions of the twentieth century.

The "Guide" is designed as a reference book, surveying theatre for young people in forty-five countries from Australia to Zimbabwe, as well as examining some of the provocative paradoxes, questions, and concerns that plague and inspire children's theatre. Arranged in alphabetical order by country, the Guide documents the history of the children's theatre movement in each country, defines its current state of artistic achievement, and projects its foremost needs for the future. For each chapter, the "Guide" includes profiles of representative companies. Important productions and influential dramatists, directors, designers, performers, and pedagogues are also mentioned.

Provides a comprehensive survey of approaches to genre in Shakespeare's work. Contributors probe deeply into genre theory and genre history by relating Renaissance conceptions. In this sense, the volume proposes to read Shakespeare through genre and, just as importantly, read genre through Shakespeare.

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Combining the charms of the country with the convenience of the city and delivering a healthy dose of both entertainment and education, American pleasure gardens were ubiquitous between the Revolution and the Civil War. Patrons of these entertainment venues would have expected to see plays, concerts, fairs, mechanical and artistic exhibits, fireworks, volcanic eruptions, and - perhaps more crucially - they would have expected to see and be seen. As outdoor entertainment venues in American cities in the eighteenth and nineteenth centuries, pleasure gardens presented citizens with public spaces where they could explore what it meant to be American. The very nature of American pleasure gardens provided an effective location for the exploration of and experimentation with American identities, due to their nature as simultaneously rural and urban, modern and nostalgic, British and American, white and racialized, and democratic and class-conscious. Stubbs examines how these once popular venues helped form American identity using nation, class, race, and the agrarian ideal as touchstones and argues the gardens allowed for the exploration of what it meant to be American through performance, both on and off the stage.

How is performer-object interaction enacted and perceived in the theatre? How thereby are varieties of 'meaning' also enacted and perceived? Using cognitive theory and ecological ontology, Paavolainen investigates how the interplay of actors and objects affords a degree of enjoyment and understanding, whether or not the viewer speaks the language.

The last 15 years has seen an explosion of studies that use cognitive science to understand theatre, whilst at the same time theatre-makers are using their artistic practice to address research question. This book looks at the current discourse around these emerging fields.

This volume focuses on the theatre history of Asian countries, and discusses the specific context of theatre modernization in Asia. While Asian theatre is one of the primary interests within theatre scholarship in the world today, knowledge of Asian theatre history is very limited and often surprisingly incorrect. Therefore, this volume addresses a major gap in contemporary theatre studies. The volume discusses the conflict between tradition and modernity in theatre, suggesting that the problems of modernity are closely related to the idea of tradition. Although Asian countries preserved the traditional form and values of their respective theatres, they had to also confront the newly introduced values or mechanisms of European modernity. Several papers in this volume therefore provide critical surveys of the history of theatre modernization in Asian countries or regions-Japan, Korea, Taiwan, Hong Kong, India Malaysia, Singapore, and Uyghur. Other papers focus on specific case studies of the history of modernization, discussing contemporary Taiwanese performances, translations of modern French comedy into Chinese, the modernization of Chinese Xiqu, modern Okinawan plays, Malaysian traditional performances, Korean national theatre, and Japanese plays during World War II. Renowned academics and theatre critics have contributed to this volume, making it a valuable resource for researchers and students of theatre studies, literature, and cultural studies.

This text proposes a new way to consider theatre and performance that claims a special relationship to reality, truth and authenticity. It documents innovations in devising and staging theatre and performance that takes reality as its subject, cultural shifts that have generated theatre of the real, some of its problems and some possibilities.

This book examines experimental Irish theatre that ran counter to the naturalistic 'peasant' drama synonymous with Irish playwriting. Focusing on four marginalised playwrights after Yeats, it charts a tradition linking the experimentation of the early Irish theatre movement with the innovation of contemporary Irish and international drama.

Based on her award-winning blog, "The Feminist Spectator," Jill Dolan presents a lively feminist perspective in reviews and essays on a variety of theatre productions, films and television series--from The Social Network and Homeland to Split Britches' Lost Lounge.
Demonstrating the importance of critiquing mainstream culture through a feminist lens, Dolan also offers invaluable advice on how to develop feminist critical thinking and writing skills. This is an essential read for budding critics and any avid spectator of the stage and screen.

One of the most popular thrillers of Alfred Hitchcock's middle years, Rear Window is now also recognised as one of the most brilliant demonstrations of the director's cinematic wizardry. Starring James Stewart and Grace Kelly, with Thelma Ritter and Raymond Burr in memorable supporting roles, the film centres on a photographer confined to a wheelchair in his apartment who, using binoculars, spies on his courtyard neighbours and witnesses a possible murder. Stefan Sharff, professor emeritus of Columbia University's film department, shows us how Hitchcock achieved the mounting excitement and fear that mark this film. The author first provides a detailed overview of the director's skill in developing the story from intriguing start to shattering climax. In the second part of the book, he goes on to a shot-by-shot analysis; using the film's continuity as his text, he describes how Hitchcock's technique accomplished its magic. Illustrated throughout with stills from the film, The Art of Looking is a unique appreciation of the art of Alfred Hitchcock, made even more valuable by the first publication in any form of the full dialogue of a screen masterpiece.

This collection of scholarly essays offers a new understanding of local and global myths that have been constructed around Shakespeare in theatre, cinema, and television from the nineteenth century to the present. Drawing on a definition of myth as a powerful ideological narrative, Local and Global Myths in Shakespearean Performance examines historical, political, and cultural conditions of Shakespearean performances in Europe, Asia, and North and South America. The first part of this volume offers a theoretical introduction to Shakespeare as myth from a twenty-first century perspective. The second part critically evaluates myths of linguistic transcendence, authenticity, and universality within broader European, neo-liberal, and post-colonial contexts. The study of local identities and global icons in the third part uncovers dynamic relationships between regional, national, and transnational myths of Shakespeare. The fourth part revises persistent narratives concerning a political potential of Shakespeare's plays in communist and post-communist countries. Finally, part five explores the influence of commercial and popular culture on Shakespeare myths. Michael Dobson's Afterword concludes the volume by locating Shakespeare within classical mythology and contemporary concerns.

"This wise volume, written by a veteran director and observer of premodern plays, offers good advice for neophyte and experienced directors." Choice

It would be difficult, indeed, to imagine anyone more qualified to give us a celebration, from the perspective of an insider, of the Broadway musical. From the first run of "Guys and Dolls" in 1950 to the recent debut of "Rent," Stuart Ostrow, a prot DEGREESD'eg DEGREESD'e of the great composer-lyricist Frank Loesser, has been personally involved in many of the major Broadway productions of our time. The steadily growing number of fans of the Great White Way will delight in his reminiscences about the shows that have shaped musical theater, such as "Hello Dolly," "Funny Girl," "Man of LaMancha," "Cabaret," "1776," and "M. Butterfly"--to name just a few.

Readers of "A Producer's Broadway Journey" will certainly be entertained by OstroW's behind-the-scenes anecdotes of Bob Fosse, Barbra Streisand, Betty Buckley, Cole Porter, Lerner and Loewe, Hal Prince, Ethel Merman, and many other legends encountered in his accomplished career. But in addition to the tales or re-writes, stand-ins, near-disasters, and moments of theatrical magic, the author also provides a unique historical perspective on almost half a century of the musical.

Kristin Linklater is one of the most internationally recognised names in the field of voice training, and this volume explores her work and life whilst also putting her work into practice. Charting the development of Linklater's process, including her work at LAMDA, the Lincoln Centre, NYU, Columbia, and the KLVC on Orkney, the book provides a comprehensive overview of one of the world's leading voice coaches. This book contains: A detailed biography of Linklater's life, including her work with Iris Warren at LAMDA, as well as the founding of her own companies and the KLVC on Orkney Detailed analysis of her key text, Freeing the Natural Voice and her work with Carol Gilligan on The Company of Women, an all-female Shakespeare company they co-conceived A comprehensive set of exercises - several of these previously unpublished This book offers essential reading and an invaluable practice handbook to the contemporary performer, voice teacher and actor trainer. As a first step towards critical understanding, and as an initial exploration before going on to further, primary research, Routledge Performance Practitioners offer unbeatable value for today's student.