Theatre has always been a site for selling outrage and sensation, a place where public reputations are made and destroyed in spectacular ways. This is the first book to investigate the construction and production of celebrity in the British theatre. These exciting essays explore aspects of fame, notoriety and transgression in a wide range of performers and playwrights including David Garrick, Oscar Wilde, Ellen Terry, Laurence Olivier and Sarah Kane. This pioneering volume examines the ingenious ways in which these stars have negotiated their own fame. The essays also analyze the complex relationships between discourses of celebrity and questions of gender, spectatorship and the operation of cultural markets.

Toward the end of the eighteenth century, a major transformation took place in British dramatic culture with the emergence of an illegitimate theater and the struggle between London's patent playhouses (Drury Lane, Covent Garden, and the Haymarket) and the new, so-called minor theaters. This is the first book to explore the institutions, genres, and performance history of this illegitimate theater. Jane Moody's lively account considers the prohibition of tragedy and comedy at London's minor theaters, interpretations of Shakespeare, and describes the ingenious ways in which performers circumnavigated the law.

This Companion offers a wide-ranging and innovative introduction to one of the most exciting and important periods in British theatrical history. The scope of the volume extends from the age of Garrick to the Romantic transformation of acting inaugurated by Edmund Kean. It brings together cutting-edge scholarship from leading international scholars in the long eighteenth century, offering lively and original insights into the world of the stage, its most influential playwrights and the professional lives of celebrated performers such as James Quin, George Anne Bellamy, John Philip Kemble, Dora Jordan, Fanny Abington and Sarah Siddons. The volume includes essential chapters about eighteenth-century acting, production and audiences, important surveys of key theatrical forms such as tragedy, comedy, melodrama and pantomime as well as a range of exciting thematic essays on subjects such as private theatricals, 'black' theatre and the representation of empire.

This Companion offers a wide-ranging and innovative introduction to one of the most exciting and important periods in British theatrical history. The scope of the volume extends from the age of Garrick to the Romantic transformation of acting inaugurated by Edmund Kean. It brings together cutting-edge scholarship from leading international scholars in the long eighteenth century, offering lively and original insights into the world of the stage, its most influential playwrights and the professional lives of celebrated performers such as James Quin, George Anne Bellamy, John Philip Kemble, Dora Jordan, Fanny Abington and Sarah Siddons. The volume includes essential chapters about eighteenth-century acting, production and audiences, important surveys of key theatrical forms such as tragedy, comedy, melodrama and pantomime as well as a range of exciting thematic essays on subjects such as private theatricals, 'black' theatre and the representation of empire.

Towards the end of the eighteenth century, a major transformation took place in British dramatic culture. At the heart of that transformation was the controversial emergence of an illegitimate theatre, and a cultural struggle between London's patent playhouses (Drury Lane, Covent Garden and the Haymarket) and the new, so-called minor theatres. This was the first book to explore the institutions, genres, and performance history of this illegitimate theatre. Jane Moody's lively account considers the prohibition of tragedy and comedy at London's minor theatres and describes the various ingenious ways in which performers circumnavigated the law. Moody brings to light illicit productions of Shakespeare and the minor theatres' fascination with dramatic subjects censored on the legitimate stage. Illegitimate Theatre represents an important contribution to our understanding of nineteenth-century cultural politics and also offers a powerful critique of theatre's position in the literary history of Romanticism.

More and more evidence is confirming that "breast is best" for both baby and mother. Increasing numbers of women are choosing to breastfeed, yet sometimes "the natural thing to do" can present difficulties. Nearly 200 women contributed their experiences to the authors of the book. They talk about their experience breastfeeding, from the first few days, through to becoming confident together, returning to work and weaning.