Best known for the hit musicals West Side Story and Gypsy, Arthur Laurents began his career writing socially minded plays such as Home of the Brave and Time of the Cuckoo. He also garnered impressive credits as a screenwriter (The Way We Were) and stage director (La Cage aux Folles). Such a varied professional life makes for absorbing reading, as unleashed in his lively 2000 autobiography, Original Story By. Laurents passed away early in 2011, but not before writing The Rest of the Story, in which he revealed all that had happened in his life since Original Story By, filled with the wisdom he gained in growing older and a new perspective brought on by Laurents' experience of deep personal loss, including the death of his longtime companion, Tom Hatcher. Laurents' style remains engrossing and brutally honest. His voice is still highly intelligent, loving, generous, and gracious. He remained committed to his artistic vision to the very end, as captured in the epilogue, which he completed only days before his death. The book ends with a loving and insightful coda by Laurents' good friend and the editor of this book, David Saint.

(Instrumental). These solo instrumental arrangements are faithful to Bernstein's score, and have been idiomatically adapted to the instruments for these editions. Intermediate to Advanced Level. CONTENTS: Jet Song * Something's Coming * Gee, Officer Krupke * Maria * Tonight (Balcony Scene) * America * Cool * One Hand, One Heart * I Feel Pretty * Somewhere. The enhanced CD includes recordings of piano accompaniments for each piece along with tempo adjustment software for CD-ROM computer use.

The musical tale of a domineering stage mother's inadvertent creation of a burlesque stripper, now available in paperback for the first time.

(Applause Books). As a playwright, screenwriter, and director, Arthur Laurents has a unique place in the history of theater. In this moving, exhilarating, and provocative account, he presents readers with a front-row look at the making of two of the greatest musicals of the American stage, West Side Story and Gypsy . He writes in rich detail about his new bilingual production of West Side Story, along with his most recent production of Gypsy, how it began as an act of love, and how that love spread through the entire company and resulted in a Gypsy unlike any other. Laurents offers behind-the-scenes details about the musicals he directed, including I Can Get It for You Wholesale, its producer David Merrick (the "Abominable Showman"), and its (very young) stars, Barbra Streisand and Elliott Gould. He dishes on Stephen Sondheim's Anyone Can Whistle, which starred Angela Lansbury and Lee Remick, marking the debut for each in musical theater. And he recounts the challenges and surprises that came with the making of La Cage aux Folles, the first big Broadway musical that was gay and glad to be. Throughout, the book is enriched by Laurents's two loves his love for the theater and his love for his partner of fifty-two years, Tom Hatcher, who shared and inspired every aspect of his life and his work. Mainly on Directing presents an unforgettable portrait of an artist working with other artists, a unique close-up look at today's American musical theater by a man who's been at its red-hot center for more than five decades.

A general principle, discovered by Robert Langlands and named by him the "functoriality principle," predicts relations between automorphic forms on arithmetic subgroups of different reductive groups. Langlands functoriality relates the eigenvalues of Hecke operators acting on the automorphic forms on two groups (or the local factors of the "automorphic representations" generated by them). In the few instances where such relations have been probed, they have led to deep arithmetic consequences.

This book studies one of the simplest general problems in the theory, that of relating automorphic forms on arithmetic subgroups of GL(n, E) and GL(n, F) when E/F is a cyclic extension of number fields. (This is known as the base change problem for GL(n).) The problem is attacked and solved by means of the trace formula. The book relies on deep and technical results obtained by several authors during the last twenty years. It could not serve as an introduction to them, but, by giving complete references to the published literature, the authors have made the work useful to a reader who does not know all the aspects of the theory of automorphic forms.

Here is the original story of a true original, the celebrated and internationally renowned director, playwright and screenwriter Arthur Laurents, whose creative genius continues to energize American stage and screen today. Say his name, and images of West Side Story, Gypsy, Anastasia, The Turning Point, and The Way We Were appear. Laurents' highly praised memoir is a dazzling portrait of his life - as he recounts the great moments, the trials and the joys of his incredible career. He takes us into his world, peopled with the creative artists, directors, actors and personalities who came of age in the theatre and in Hollywood after WWII. Later, back in New York, he writes about jump-starting Barbra Streisand's career by casting her in I Can Get It for You Wholesale. He writes about the creation of Gypsy with Jule Styne and Stephen Sondheim. And he writes about coming together in a complex, fraught collaboration with his three old pals, Jerome Robbins, Leonard Bernstein and Sondheim for West Side Story. Throughout, Laurents is funny, fierce, and frank - a life recounted as richly as it was lived. "This is a historic work. A 'must' for show biz mavens." - LIZ SMITH, Newsday and Syndicated

Leona Samish, a single American woman of a "certain age" takes a long-planned European vacation from her job as a secretary and finds herself in a pensione in Venice, Italy. At a street market, she meets the handsome proprietor Renato DiRossi, entering into a casual flirtation which turns into an affair. Her complacency is jolted when she discovers he is married, has several children and is quite happy with the arrangement as is. Long-dormant frustrations and anger come to the surface as Leona faces the harsh reality of this new found infatuation and her own romantic notions of love. Shirley Booth and later Katharine Hepburn ("Summertime") played the leading role.

Drama / 2m, 3f / Simple Set Come Back, Come Back, Wherever You Are, a play by the widely-acclaimed, Tony Award-winning theatre legend Arthur Laurents, is an intimate, emotional drama about a cabaret singer coping with the devastating death of her husband, while trying to navigate her overbearing, controlling mother-in-law and the aggressive advances of a sexually persistent, handsome, new suitor. Recently widowed Sara must comes to terms with her husband's death but is haunted by visions of him. Her fixation on his posthumous messages dampens her historically lukewarm relationship with Marion, her therapist mother-in-law, who is disturbingly pragmatic about the passing of her son. Sara's grief is also altered by Michelle, her under-appreciated sister-in-law, who is struggling both with her sexual identity and her relationship to her deceased brother. All is complicated by Dougal, a picture framer who is struck by the earnest Sara. Come Back, Come Back, Wherever You Are is a gripping drama about grief and the ability of a family to cope with loss. But at its heart, it is a play about love. It was part of the 2009 season at the George Street Playhouse. "The prolific Laurents has given his play a crisp staging, cramming the 90-minute wake with enough heartbreak and ardor to fill a grand opera." - Variety