English Theater

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.

The year is 1970. Eighteen-year old Abby Douglas and her best friend, Linda, are enrolled in a theater class and become entangled in misfortune at the Rockford University Campus. Weeks before her first class, Abby begins having reoccurring dreams. Reluctantly she gets entangled in another mystery. Danger is lurking, and the theater professor may have to cancel the play. If the mystery isn't solved soon, the university officials will consider terminating the entire theater program.

Britannia Rules the Stage: The 1980s British Invasion of Musical Theater is a comprehensive exploration of one of the most transformative moments in the history of musical theater. This book delves into the influence of British musicals, such as "Cats," "Phantom of the Opera," and "Les Misérables," in reshaping the landscape of musical theater on Broadway and beyond.

In this survey of eighteenth and nineteenth century American drama, Tice L. Miller examines American plays written before a canon was established in American dramatic literature and provides analyses central to the culture that produced them. Entertaining the Nation evaluates plays in the early years of the republic, reveals shifts in taste from the classical to the contemporary in the 1840s and 1850s, and considers the increasing influence of realism at the end of the nineteenth century.

What if you help the homeless for the wrong reasons? Gabe Wagner certainly has. So has the performing arts community. Worlds converge when a commute goes wrong, leaving Gabe at the mercy of "The District".

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!

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.

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.

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.

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.

The Sit Room brings you inside the secretive Situation Room of the White House, the most important deliberative room in the world, during the early 1990s when the author was one of the policymakers who framed the Clinton Administration's policy toward the bloody Balkans War. Drawing upon newly declassified documents and his own notes, David Scheffer, who later became America's first Ambassador-at-Large for War Crimes Issues, weaves the true story of how policy options were debated in the Sit Room among the highest national security officials.

'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.