English Theater

In Take You Wherever You Go, Kenny Leon reflects on the pillars of wisdom he learned every step of the way from the most important people in his life - from his grandmother's sagacious and encouraging motivations to the steady hand of his mother to the deep artistic and social influence of iconic American playwright August Wilson. Take You Wherever You Go is a poignant, ruminative, and inspirational memoir that empowers you to be true to yourself as you navigate your own path.

It's the first real summer since the devastating accident that killed Cedar's father and younger brother, Ben. But now Cedar and what's left of her family are returning to the town of Iron Creek for the summer. They're just settling in to their new house when a boy named Leo, dressed in costume, rides by on his bike. Intrigued, Cedar follows him to the renowned Summerlost theatre festival. Soon she not only has a new friend in Leo and a job working concessions at the festival, but she finds herself surrounded by mystery.

Ben Riller is the most successful producer on Broadway, but his newest production is in danger of closing before it opens. In his stressed-out condition, Ben is hearing the voice of his long-dead father, and they're having a running argument about life, love, and other people's money.

The Lux Radio Theatre was a one-of-a-kind OTR show. Imagine the greatest Hollywood stars doing one-hour versions of their biggest motion pictures, complete with full orchestra, live onstage with a studio audience. The one and only Cecil B. DeMille was your host ('36-'45) for a lavish production of what was to become a veritable film checklist of many of Hollywood's best films from the mid-'30s right through the mid-'50s. The first Lux film adaptation was The Legionnaire and the Lady with Marlene Dietrich and Clark Gable, based on the film Morocco.

Among the dramatists who wrote for the professional playhouses of early modern London was a small group of writers who were neither members of the commercial theater industry writing to make a living nor aristocratic amateurs dipping their toes in theatrical waters for social or political prestige. Instead, they were largely working- and middle-class amateurs who had learned most of what they knew about drama from being members of the audience.

When John, a nine-year-old boy from 1966, hears his own voice whisper in his head, it ultimately leads to a psychotic break and the truth behind the visions in his mind. Meanwhile, Edward, another nine-year-old boy from 1914, is trapped by the tragic circumstances of his family’s secrets. Somehow, their lives are linked by tragedy, redemption, pain, and triumph in a 109-year-long journey that will take a toll on them both, teach them about a bond stronger than time, and change the future for so many others along the way.

Edward Zanni has been kicked out of drama school because he's just too "jazz hands" for Juilliard. He moves to New York City and lands a job working as a stealth guest at corporate parties. When he gets caught up in an insider trading scandal, his crew of theater friends comes to his rescue.

Gideon and the ladies continue their uphill battle against Mercsecure, and along the way, bust even more super ladies out of The New Mexico Facility high-security research lab to join the fight, including the speedy, motor-mouthed Michelle.

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!

In Niger, a coup that is staged and funded by ISIL puts a vicious leader in command. People are summarily slaughtered, the government is in shambles, and a terrorist regime rules with impunity. But deep inside the sublevel of a defunct hospital is the key to annihilation. It is a secret known only to the members of the ISIL regime and the Iran Ministry of Intelligence. The world is impotent to respond, and there seems to be no counteroffensive to stop the rogue efforts that could bring the world to its knees.

REBEL IN VENUS takes place over one 'girl's night in' spent between best friends, Maria and Layla. Over the course of the witty and unexpected evening, Layla's memory is jolted, and her once carefully repressed past begins to return to her, triggering a sequence of events that ultimately jeopardizes Layla's unconventional life. In REBEL IN VENUS, the bold, and sometimes brutally honest stories that unfold, are filled with sexual revelations, high-school humiliations, unwanted pregnancies, unwavering friendships, sex work, divorce, and loss.

After Olive Preiss freezes during a theater camp audition, she flees in despair. She finds herself at Maudeville, a beautiful old theater that she's never noticed before. She enters, goes onstage, and sings her song. "Thank you for that lovely audition, darling," comes a voice from the shadows. "I believe I have just the part for you."

All seems well in the city on Pinchester, but trouble is brewing at the Varmint Theater. Before he knows it, Hermux is hired not only to investigate a mysterious blackmailer, but to design the set for an upcoming show. As Hermux enters the dizzying world of the theater he finds himself in a whirlwind of distractions, among them an accidental foray into reality theater and trying to fight off sexy film director Brinx Lotelle's shameless interest in Hermux's girlfriend Linka.

Following his massive personal loss in the second book, Oric Rune reaches the city of Tael to join Lothar and Sam Raid. Battered and bruised but not yet ready to give up on his quest to save Unigaea, Oric and company set off for Tagvornin to address the Red Plague. With a newfound mission and time running out as the Red Plague continues to spread, the moment for Oric to make his mark on Unigaea is now. But will he be able to? And is it even possible?

Jace's old life is gone. Earth is a memory, replaced by a game world where survival itself is a challenge. But even if given a choice, Jace would never go back. He is a Northblood now, descendant of a proud barbarian lineage that once reigned over the chill realm he now calls home.

Conor Night, the world's only necromancer, has finally learned what it means to be the world's only necromancer. It’s a lesson he wishes he had never received, because thanks to him an ancient wizard with an apocalyptic agenda is back in business, ready to finish cleaning house. Even worse? He’s the only one who can stop it. He’s been living on a roll of the dice for years, but the stakes have never been higher, and the outcome never so clear: To save the world, he has to die.

Just off of Highway 95 in the state of Nevada, there lies the small town of Tonopah. For miles around, it's desolate and in the silence, there lies one lonely motel. Across from the motel is an old cemetery, where miners were buried. It's not the ghosts within the cemetery that will make you run in fear.... For those of you faint of heart and fearful of clowns, this is not a delicate story.

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.