Cameron Mackintosh is the world's leading theatrical producer of musicals such as Cats, Les Miserables and The Phantom of the Opera. He is also a significant theatre owner and has completed a two-decade campaign of refurbishment and rebuilding of eight London theatres that has set the tempo for maintaining one of Britain's greatest cultural heritages for the next century. Master of the House charts the stories of these eight historic London buildings - their origins, their iconic shows and productions, the stars and the glamour. Lavishly illustrated with images from the Delfont Mackintosh archive, the book also contains original architect drawings, specially-commissioned photographs of the refurbishment, show posters and other theatre ephemera, and many sweeping panoramas of the exquisitely finished spaces.

- Bietet einen Planungsansatz fur die optimale Nutzung der Informationstechnologie zur erfolgreichen Umsetzung der Unternehmensstrategie - Zeigt, wie man UEberraschungen bei unvorhergesehenen oder schlecht gemanagten Aktivitaten vermeiden kann - Erklart, warum Topmanager ihren Ansatz im Finanzmanagement andern sollten, um ihr Unternehmen schneller und praziser modellieren zu koennen - Fallstudien veranschaulichen "Best Practices", die zur erfolgreichen Optimierung von Finanzprozessen fuhrten

This is the vital story of the amateur theatre as it developed from the medieval guilds to the modern theatre of Ayckbourn and Pinter, with a few mishaps and missed cues along the way. Michael Coveney – a former member of Ilford's Renegades - tells this tale with a charm and wit that will have you shouting out for an encore. Between the two world wars, amateur theatre thrived across the UK, from Newcastle to Norwich, from Bolton to Birmingham and Bangor, championed by the likes of George Bernard Shaw, Sybil Thorndike, and J B Priestley. Often born out of a particular political cause or predicament, many of these theatres and companies continue to evolve, survive and even prosper today. This is the first account of its kind, packed with anecdote and previously unheard stories, and it shows how amateur theatre is more than a popular pastime: it has been endemic to the birth of the National Theatre, as well as a seedbed of talent and a fascinating barometer and product of the times in which we live. Some of the companies Coveney delves into – all taking centre stage in this entertaining and lively book - include the Questors and Tower Theatre in London; Birmingham's Crescent Theatre; The Little Theatre in Bolton, where Ian McKellen was a schoolboy participant; the Halifax Thespians; Lincolnshire's Broadbent Theatre, co-founded by Jim Broadbent's father and other conscientious objectors at the end of World War II; Crayford's Geoffrey Whitworth Theatre, where the careers of Michael Gambon and Diana Quick were launched; Anglesey's Theatr Fach, a crucible of Welsh language theatre; and Cornwall's stunning cliff-top Minack.

Michael Coveney has been writing theatrical obituaries alongside reviews for several decades and makes a telling, sometimes surprising, selection of the best performers of our time, from Laurence Olivier to Alan Rickman, Peggy Ashcroft to Helen McCrory, Richard Briers to Ken Dodd. Most of these obits appeared in the Guardian, several in the Observer, the Financial Times and the Evening Standard. The fifty articles are arranged in chronological order of each actor’s demise and constitute a vivid history of postwar theatre through the lives of the actors, ‘the abstract and brief chronicles of the time’ as Hamlet called them. There are happy/sad juxtapositions of shooting stars Robert Stephens and Alan Bates; tragic niece and aunt, Natasha Richardson and Lynn Redgrave; classical queens Diana Rigg and Barbara Jefford; and versatile showtime hoofers Una Stubbs and Lionel Blair.

'Coveney is the only writer who could get under Smith's skin, capturing her steeliness and vulnerability' INDEPENDENT ON SUNDAY From her days as a star of West End comedy and revue, Dame Maggie's path has led to international renown and numerous accolades including two Academy Awards. Recently she has been as prominent on our screens as ever, with high-profile roles as the formidable Dowager Countess of Grantham in DOWNTON ABBEY, as Professor Minerva McGonagall in the HARRY POTTER movie franchise and as the eccentric Miss Shepherd in the film version of THE LADY IN THE VAN by Alan Bennett. Paradoxically she remains an enigmatic figure, rarely appearing in public and carefully guarding her considerable talent. Drawing on personal archives, interviews and encounters with the actress, as well as conversations with immediate family and dear friends, Michael Coveney's biography is a captivating portrait of the real Maggie Smith.