Melodrama / Casting: 8m, 3f / Scenery: Simple ints./exts. In this version of the old melodrama, Todd has some grounds for his nefarious activities: his wife was abducted and raped by the Judge and his daughter abandoned, while he himself was deported on a false charge. He returns to avenge his family, accompanied by a sea captain, Anthony, whose life he has saved. Anthony falls in love with a young girl, the Judge's ward, who turns out to be Todd's daughter. Todd, meanwhile, sets up with Mrs. Lovett, the pie maker, and provides her with fillings for her pies. He proceeds with his vengeful plans but the outcome is bitterly ironic.

Six strangers, a lonely farmhouse, surrounded by brain-eating zombies - what could go wrong? Night of the Living Dead(TM) Live is a fun and hilarious re-imagining of George A. Romero's legendary classic. Set in 1968 and presented in all black and white, it literally feels like the film has been brought to life and placed onstage. The play lovingly examines the movie itself, the period in which it was made, and the film's undying influence on the horror genre. More than just a re-creation of the s

This book studies the interplay of theology and poetics in the three great epics of early-modern England: the Faerie Queene, Paradise Lost, and Paradise Regained. Bond examines the relationship between the poems’ primary heroes, Arthur and the Son, who are godlike, virtuous, and powerful, and the secondary heroes, Redcrosse and Adam, who are human, fallible, and weak. He looks back at the development of this pattern of dual heroism in classical, Medieval, and Italian Renaissance literature, investigates the ways in which Spenser and Milton adapted the model, and demonstrates how the Jesus of Paradise Regained can be seen as the culmination of this tradition. Challenging the opposition between “Calvinist,� “allegorical� Spenser and “Arminian,� “dramatic� Milton, this book offers a new account of their doctrinal and literary affinities within the European epic tradition. Arguing that Spenser influenced Milton in fundamental ways, Bond establishes a firmer structural and thematic link between the two authors, and shows how they transformed a strongly antifeminist genre by the addition of a crucial, although at times ambivalent, heroine. He also proposes solutions to some of the most difficult and controversial theological cruxes posed by these poems, in particular Spenser’s attitude to free will and Milton’s to the Trinity. By providing a deeper understanding of the religious agendas of these epics, this book encourages a rapprochement between scholarly approaches that are too narrowly concerned with either theology or poetics.