English Theater

In The Theater of Operations, Joseph Masco locates the origins of the present-day U.S. counterterrorism apparatus in the Cold War's "balance of terror". He shows how, after the attacks of 9/11, the U.S. global War on Terror mobilized a wide range of affective, conceptual, and institutional resources established during the Cold War to enable a new planetary theater of operations.

The new actress in her first Broadway production, Jenn is not surprised when the rest of the crew start teasing her with legends of the monstrous hunchbacks who live up in the theater rafters. But it's not until she sees the beasts for herself that Jenn starts to take the stories seriously. Soon, Jenn finds herself coming to the aid of these legendary creatures during an after-hours visit to the theater. But when the hunchback's lustful desires become fully apparent, Jenn finds herself at the center of a ruthless hunchback gangbang!

When an extra ticket becomes available to see the dress rehearsal of King Lear, Kellan tags along with Nana D and her buddies. But when one of them dies of an apparent heart attack in the middle of second act, Nana D asks Kellan to investigate. With family members suddenly in debt and a secret rendezvous between an unlikely pair, Kellan learns that the Paddingtons might not be as clean-cut as everyone thinks. But can Kellan find the killer, or will he get caught up his own stage fright?

Danger prowled under both the cold gray waters of the North Sea and the shimmering blue waves of the tropical Atlantic during World War II as Adolf Hitler's Third Reich attempted to strangle Allied shipping lanes with U-boat attacks. German and British submarines combed the vast oceanic battlefield for prey, while scientists developed new technologies and countermeasures.

Broadway’s most esteemed visionaries tell all - how they got started in the business, how they chose projects, how they raise money, why some of their shows were huge hits and others flopped, and much more. From Flo Ziegfeld and David Merrick, from Joseph Papp, from Cameron Mackintosh, from today’s up-and-coming new generation of producers - here are priceless words of wisdom.

The growing buzz of aircraft engines disturbed the Japanese military construction personnel hauling equipment ashore on the beige coral sand of Tulagi Island at 8:20 AM on May 4th, 1942. Offshore, the large IJN (Imperial Japanese Navy) minelayer Okinoshima, flagship of Admiral Shima Kiyohide, lay at anchor, along with two destroyers, Kikuzuki and Yutsuki, and transport ships.

Those who had decoded and seen the Japanese communications in early December 1941 would not be surprised when they heard about an attack on December 7, 1941. They would, however, be astonished when they heard where that attack took place. Posted on the other side of the world, it was early on the morning of December 8 in the Philippines when American general Douglas MacArthur received news of the Japanese attack on Pearl Harbor hours earlier.

Timothy R. White begins his history of the theater industry with the dispersed pre-Broadway era, when components such as costumes, lights, and scenery were built and stored nationwide. Subsequently, the majority of backstage operations and storage were consolidated in New York City during what is now known as the golden age of musical theater. Toward the latter half of the 20th century, decentralization and deindustrialization brought the emergence of nationally distributed regional theaters and performing arts centers.

Quarantine is an adaptation for the theater by E. Thomalen of Albert Camus' The Plague translated by Stuart Gilbert. It is a play in four acts and begins with the observation of rats dying, ending with "freedom" because of the lifting of the quarantine. Not everyone finds freedom to his liking. The characters capture the angst, boredom, grief, heroism, spiritual questioning, villainy, courage and longing brought on by the quarantine and the plague.

I, Napoleon is a one man theater play, written by David Serero, about Napoleon Bonaparte's life. Under the form of an autobiography, one of the greatest historical figures of all time, Napoleon Bonaparte (1769-1821) tells his story from his birth to his death, to the audience of 2020. Starring French actor David Serero as Napoleon Bonaparte. Performed in English language.

In the height of the Second World War, US forces launched a long and grueling campaign to take the island of Guadalcanal, mounting the first major land attack against Japanese forces. What followed was a six-month string of devastating battles as these two forces wrestled over this key military position. In the wake of near-daily aerial attacks and several determined assaults from the Japanese navy, the Guadalcanal campaign culminated in a victory for America and marked the first of many offensive attacks aimed at neutralizing the Japanese in the Pacific Theater.

The Complete Guide to Distributing an Indie Film provides a step-by-step guide for setting up distribution for your film. It is designed primarily for independent filmmakers who are distributing their first few films with budgets ranging from under $200,000 to a few million. The audiobook is drawn from the author’s experiences in distributing and promoting her own feature film, attending festivals and conferences, going to the AFM, helping clients who have set up theatrical screenings, and doing research on recent developments and trends in distribution.

'A Story Goes with It' and 'Dark Dolores' from The Damon Runyon Theatre Hour. Damon Runyon is acknowledged as one of the great writers to come out of 20th-century America. Runyon's short stories are almost always told in the first person by a narrator who is never named and whose role is unclear; he knows many gangsters and has no job that can be gleaned from his musings, nor does he admit to any criminal involvement; he’s a bystander, an observer, an average street-corner Joe.

'That Ever Lovin Wife of Hymies' and 'A Light in France' from The Damon Runyon Theatre Hour. Damon Runyon is acknowledged as one of the great writers to come out of 20th-century America. Runyon's short stories are almost always told in the first person by a narrator who is never named and whose role is unclear; he knows many gangsters and has no job that can be gleaned from his musings, nor does he admit to any criminal involvement; he’s a bystander, an observer, an average street-corner Joe.

Runyon's short stories are almost always told in the first person by a narrator who is never named and whose role is unclear; he knows many gangsters and has no job that can be gleaned from his musings, nor does he admit to any criminal involvement; he’s a bystander, an observer, an average street-corner Joe. Runyon described himself as 'being known to one and all as a guy who is just around'. That line seems to say a lot about Runyon and his life.

Runyon's short stories are almost always told in the first person by a narrator who is never named and whose role is unclear; he knows many gangsters and has no job that can be gleaned from his musings, nor does he admit to any criminal involvement; he’s a bystander, an observer, an average street-corner Joe. Runyon described himself as 'being known to one and all as a guy who is just around'. That line seems to say a lot about Runyon and his life.

Runyon's short stories are almost always told in the first person by a narrator who is never named and whose role is unclear; he knows many gangsters and has no job that can be gleaned from his musings, nor does he admit to any criminal involvement; he’s a bystander, an observer, an average street-corner Joe. Runyon described himself as 'being known to one and all as a guy who is just around'. That line seems to say a lot about Runyon and his life.

Runyon's short stories are almost always told in the first person by a narrator who is never named and whose role is unclear; he knows many gangsters and has no job that can be gleaned from his musings, nor does he admit to any criminal involvement; he’s a bystander, an observer, an average street-corner Joe. Runyon described himself as 'being known to one and all as a guy who is just around'. That line seems to say a lot about Runyon and his life.

Runyon's short stories are almost always told in the first person by a narrator who is never named and whose role is unclear; he knows many gangsters and has no job that can be gleaned from his musings, nor does he admit to any criminal involvement; he’s a bystander, an observer, an average street-corner Joe. Runyon described himself as 'being known to one and all as a guy who is just around'. That line seems to say a lot about Runyon and his life.

Runyon's short stories are almost always told in the first person by a narrator who is never named and whose role is unclear; he knows many gangsters and has no job that can be gleaned from his musings, nor does he admit to any criminal involvement; he’s a bystander, an observer, an average street-corner Joe. Runyon described himself as 'being known to one and all as a guy who is just around'. That line seems to say a lot about Runyon and his life.