My Fair Lady is the classic stage musical based on George Bernard Shaw's book Pygmalion. The musical was later adapted for film, and the movie, starring Rex Harrison and Audrey Hepburn, was released in 1964. This book features selections from the musical, providing the lyrics along with piano and chord arrangements for all the songs included. Titles: Get Me to the Church on Time * I Could Have Danced All Night * I'm an Ordinary Man * I've Grown Accustomed to Her Face * Just You Wait * On the Street Where You Live * The Rain in Spain * Show Me * Why Can't the English? * With a Little Bit of Luck * Without You * Wouldn't It Be Loverly.

"Tony Kushner's HOMEBODY/KABUL is the most remarkable play in a decade...without a doubt the most important of our time." John Heilpern, New York Observer "This compelling evening testifies that Mr Kushner can still deliver his sterling brand of goods: a fusion of politics, poetry and boundless empathy transformed through language into passionate, juicy theater...a reminder of how essential and heartening Mr Kushner's voice remains." Ben Brantley, The New York Times "What a feast of a play. No playwright in the English language has a greater passion for language than Kushner. And to this Kushner adds that rare quality in American theater, a yearning to go beyond domestic stories and into the great world of political struggle. Brilliant. It keeps us thinking." Richard Christiansen, Chicago Tribune "HOMEBODY/KABUL is a rich and intelligent piece." Peter Brook "An extraordinary play...a deeply felt expansively ruminative drama." Paul Taylor, The Independent

Perfectly preserving the tone and mood of the novel whilst condensing it into two acts, David Malouf, with the gift for language already evident from his novels and poetry, presents afresh the timeless story of Charlotte Brontë's Jane Eyre, one of the most enduring literary classics of all time. The love between Jane and Mr Rochester, and the mystery of the woman behind the locked door, are here set to music in the opera composed by Michael Berkeley.

"If the law is of such nature that it requires you to be an agent of injustice to another, then I say, break the law." In 1849, the young Henry David Thoreau, philosopher, poet, naturalist, penned these timeless words in his Civil Disobedience. Three years earlier Thoreau had refused to pay taxes to the government, which was engaged in the Mexican War. He condemned the war as unjust--a war never formally declared, begun without Congressional authorization, a savage and bloody war fought to assuage the United States' territorial ambitions. For his courageous and unprecedented act of protest, he was thrown in jail. Thoreau was a man of the future. Over the past century, his action has had worldwide repercussions. Tolstoy was influenced by his stand, and Gandhi based his passive resistance campaign on the words of the philosopher of Walden Pond. Now, Thoreau's action take on a new relevance. The Night Thoreau Spent In Jail is an essential work for today's world.

"It is 1936 and A.E. Housman is being ferried across the river Styx, glad to be dead at last. His memories are dramatically alive. The river that flows through Tom Stoppard's The Invention of Love connects Hades with the Oxford of Housman's youth: High Victorian morality is under siege from the Aesthetic movement, and an Irish student called Wilde is preparing to burst onto the London scene." "On his journey the scholar and poet who is now the elder Housman confronts his younger self, and the memories of the man he loved his entire life, Moses Jackson - the handsome athlete who could not return his feelings. As if a dream, The Invention of Love inhabits Housman's imagination, illuminating both the pain of hopeless love and passion displaced into poetry and the study of classical texts. The author of A Shropshire Lad lived almost invisibly in the shadow of the flamboyant Oscar Wilde, and died old and venerated - but whose passion was truly the fatal one?" --Book Jacket.

Winner of Five Obies, now back in print after fifteen years, a stage adaptation of classic stories by Hawthorne and Melville In the three plays in The Old Glory--Endecott and the Red Cross ; My Kinsman, Major Molineux ; and Benito Cereno --the most powerful figure in postwar American poetry confronts the most haunting American fiction writers of the nineteenth century. The result is a mythical, nightmare history of three centuries in America. In Endecott and the Red Cross, Hawthorne's Puritan governor, horrified by his colony's high living, declares, "Everything in America will be Bible, blood and iron. / England will no longer exist." The other two plays, based on Hawthorne's My Kinsman, Major Molineux and Melville's Benito Cereno , take up the themes of parricide and independence: one in Boston on the eve of the Revolutionary War, the other on a merchant ship in the Caribbean in the early nineteenth century. The plays were first performed in 1964, when the poet Randall Jarrell wrote: "I have never seen a better American play than Benito Cereno , the major play in Robert Lowell's The Old Glory . . . The play is a masterpiece of imaginative knowledge."

With his characteristically brilliant wordplay and extraordinary scope, Tom Stoppard has in Hapgood devised a play that "spins an end-of-the-Cold-War tale of intrigue and betrayal, interspersed with explanations of the quixotic behavior of the electron and the puzzling properties of light" ( New York Times ). It falls to Hapgood, an extraordinary British intelligence officer, to try to unravel the mystery of who is passing along top-secret scientific discoveries to the Soviets, but as she does so, the web of personal and professional betrayals―doubles and triples and possibly quadruples―continues to multiply.

""A Dream of Love"" is a play written by William Carlos Williams, consisting of three acts and eight scenes. The story revolves around a young couple, Jack and Edith, who are deeply in love but face numerous challenges in their relationship. Jack is an aspiring writer who struggles to make ends meet, while Edith comes from a wealthy family and is torn between her love for Jack and her family's expectations. As the play progresses, the couple's relationship is put to the test as they navigate through various obstacles such as financial struggles, infidelity, and societal pressures. The play also touches upon themes of class struggle, the pursuit of artistic passion, and the complexities of human relationships.Throughout the play, Williams employs poetic language and vivid imagery to convey the emotional depth of the characters and their struggles. The play ultimately culminates in a dramatic conclusion that leaves the audience questioning the true nature of love and the sacrifices one must make to pursue it.Overall, ""A Dream of Love"" is a poignant and thought-provoking play that explores the complexities of love and the human experience.Direction, No. 6.This scarce antiquarian book is a facsimile reprint of the old original and may contain some imperfections such as library marks and notations. Because we believe this work is culturally important, we have made it available as part of our commitment for protecting, preserving, and promoting the world's literature in affordable, high quality, modern editions, that are true to their original work.

Dramatizes the conversation between an interrogator and his victims, a father, mother, and young son, and includes an interview with the playwright about the play's theme

Cast in the style of a vaudeville Wild West Show, this highly theatrical play explores the theme of Americas mistreatment of the indigenious tribes was a celebrated hit on Broadway starring Stacy Keach. The hero is Buffalo Bill, whose life is defined and destroyed by an unfulfilled vision. Like all tragic heroes he has a fatal character flaw: he knows and loves the Native Americans, but craves money and fame. He helps destroy the buffalo herds, reducing the Native Americans to starvation. Ultimately, ambition leads him to even greater cruelty, destroying both the tribes and himself.

Comedy Characters: 15 male, 10 female, extras, plus 6 musicians. Various interior and exterior sets or unit set. This recent hit in London is a free adaptation of the 19th century farce by Johann Nestroy that provided the plot for Thornton Wilder's The Merchant of Yonkers, which led to The Matchmaker, which led to Hello, Dolly. The story is basically one long chase, chiefly after two naughty grocer's assistants who, when their master goes off on a binge with a new mistress,

B B C correspondent David Mazower (Sholem Asch's great-grandson) described THE GOD OF VENGEANCE as "admired, translated, parodied, panned, banned, prosecuted, withdrawn, forgotten, revived, celebrated." An international sensation after its 1907 world premiere in Berlin at Max Reinhard's Deutsches Theater, Asch's play quickly became the first Yiddish drama performed in translation across Europe and America. Notoriety was a key part of its success. Nearly every production sparked some level of controversy due to the script's conflicting themes of hypocrisy and religious faith, rebellion and tradition, its brothel setting, graphic domestic violence, "gutter poetry" reminiscent of Wedekind, and an unprecedented erotic scene of lesbian seduction. This pre-Holocaust drama is today circumscribed by a very different post-Holocaust world, but THE GOD OF VENGEANCE remains one of the great urban dramas of the Yiddish Theatre repertoire.

Sorrel grew up with professor parents, where carob was dessert, reading passages of Canadian poetry aloud was entertainment, and canoeing was the only sport encouraged. No one really noticed the studious Sorrel until she turned seventeen, when late puberty suddenly transformed her into a hot dork. Boys wanted her and girls loathed her, and all at once Sorrel discovered the joys of sexuality and the pain of social rejection. Sorrel enters college as a self-proclaimed loser with no female friends, but then she meets Maggie. Maggie's unwavering friendship helps her shed her inhibitions and become more truly herself. The two women grow older, but when Maggie is diagnosed with cancer, Sorrel must choose between raw feeling and devotion.

A reissue of Ferlinghetti's very short experimental plays (1965) with three new plays added to the original thirteen. In this collection Ferlinghetti takes a revolutionary look at modern theater and explores the area between old-style drama and spontaneous improvisation by supplying a blueprint for dramatic actionan outline from which director and actors may create and interpret freely. In one called '"Our Little Trip" two men in conservative suits wind themselves in and out of a long bandage while a questioner circles them seeking Meaning. "Servants of the People" puts on political podium hogs in torrents of cliches. "Bearded Lady 'Dies'" features the Second Coming all decked out for newspaper coverage.

This new collection of Foreman's plays included Eddie Goes To Poetry City (Seattle and New York versions), The Mind King, Samuel's Major Problems, My Head Was a Sledgehammer and I've Got the Shakes. The directions included with each play elucidate the playwrights intent and crystallize his philosphy of theater. In addition, an unannotated version of My Head Was a Sledgehammer provides a look at the powerful languague of Foreman's theaer, apart from stage directions that may limit one's inerpretation.

By studying the diction of Romeo and Juliet , Robert O. Evans examines this, the most rhetorical of Shakespeare's plays, in terms of an Aristotelian critical category, which has been neglected in modern times. Inherent in his methodology is the assumption that Romeo and Juliet is best regarded as drama, not as pure poetry, though essentially it is the rhetorical brilliance of the poetry that is considered. Evans begins with an analysis of the important speeches of Romeo and Juliet and defines the controlling devices Shakespeare wove into them, especially oxymoron. He then follows with a discussion of the role of Friar Laurence, whom the author finds is a catalyst between the warring houses and between the lovers and the outer world of Verona. Evans concludes with an examination of Mercutio's famous Queen Mab speech, which, he points out, has an integral relationship to the structure of the tragedy as a whole. An analysis of the rhetorical devices of the play, Evans believes, demonstrates the thesis that the tragic effect of Romeo and Juliet is one of fulfillment, with the tragedy arising from the character of the protagonists rather than from circumstance.

Zusammenfassung: "A member of the Gruppe 47 writers’ group which sought to renew German-language literature after World War II, Ilse Aichinger (1921–2016) achieved great acclaim as a writer of fiction, poetry, prose, and radio drama. The vignettes in At No Time each begin in recognizable situations, often set in Vienna or other Austrian cities, but immediately swerve into bizarre encounters, supernatural or fantastical situations. Precisely drawn yet disturbingly skewed, they are both naturalistic and disjointed, like the finest surrealist paintings. Created to be experienced on the page or on the radio rather than the stage, they echo the magic realism of her short stories. Even though they frequently take a dark turn, they remain full of humor, agility, and poetic freedom." -- From the publisher's website.

Fiction. Drama. "There are phone lines to the living and others for calling the dead. TELEPHONE by Ariana Reines is a network for riveting acts of speech, and silence, and listening. I saw the play and never forgot it. The audience was lit like a switchboard by its storms of courage and mystical love."--Rachel Kushner "TELEPHONE is an uncanny parcel of theater in which the wishes of humans to speak with the dead meet the limits or the aspirations of technology. A woman wrapped in language is deemed insane and the lonely pastness of our present walks around calling for itself. TELEPHONE is a whild and visionary piece of art that announced to me a poet who is always tearing the future open like a trapped animal--their eyes reflect us. Don't look! We mus. Bless you and love you Ariana for this great work."--Eileen Myles "I have been WAITING FOR THIS BOOK! When I saw it in the theater every word motion fell into magic stride utterly taxing the soul with its accuracy and mystery. The next night I was at the box office with a different friend and needed to return to my job is the only thing that kept me from the theater a third night. Examine for yourself the bewitching and sometimes misshapen communicative powers of life with the poetry goddess of the stage, Ariana Reines!-- CA Conrad "TELEPHONE, the inspired and utterly original new tone poem of a play, probes feelings with the sensitivity and detachment of a heart surgeon."--Ben Brantley, The New York Times

This is a reproduction of the original artefact. Generally these books are created from careful scans of the original. This allows us to preserve the book accurately and present it in the way the author intended. Since the original versions are generally quite old, there may occasionally be certain imperfections within these reproductions. We're happy to make these classics available again for future generations to enjoy!

This Is A New Release Of The Original 1911 Edition.