5 comments about Upstaged: Making Theatre in the Media Age.

1. Theatre. Is it an age-old instutution which still freshly engages it's audience, or have new advances in media and home entertainment finally rendered the theatre redundant? After reading Anne Nicholson Weber's UPSTAGED: MAKING THEATRE IN THE MEDIA AGE, you'll get a clearer picture of how theatre has kept itself relevant (often against all odds) in an ever-changing world.
   
   Ms Nicholson Weber interviewed 24 notable names from the world of theatre and collected them in this book. Producers, directors, critics and performers, all with different voices and opinions on the state of theatre today. Together, their comments create a fascinating cross-section which readers will no doubt find enthralling, humorous and illuminating.
   
   Maggie Gyllenhaal (the pert and promising young star of "Secretary") talks about the alarming difference between Los Angeles and New York theatre audiences. Sir Peter Hall reveals his impression of Broadway today ("a tourist attraction with plastic musicals that run forever"). Adrian Lester ("Primary Colours") discusses the unspoken hierarchy which prevents talented theatre performers from breaking into major movie roles. And, in one of the most shocking--yet telling--essays, theatre/opera director Michael Kahn talks about talent agents who routinely prevent their clients from seeking roles in the theatre.
   
   You're bound to find your own favourites in the mix. It might be called "The Fabulous Invalid", but Broadway isn't going anywhere in a hurry. The great art of theatre may change; it won't entirely disappear. UPSTAGED will be a valuable volume for those wanting to explore theatre's possibilities in a new age.



2. If you are interested in theatre and film and have always wanted to have an intimate chat with the movers and shakers who are rooted in theatre but work regularly in film, buy this book. Maggie Gyllenhaal, Tony Kushner, Julie Taymor, Simon Callow, Frank Rich, Anna Deavere Smith and Paul Scofield are only a few of the writers, directors, critics and actors you'll meet along the way. How has film and other media changed what would have been exclusively a life in the theatre? That's the focus of these short but revealing interviews--reminding us that live theattre has weathered many storms and will outlast or at least co-exist with films, tv, videogames, MySpace and any new technology that Western civilization has to offer.



3. "The thrill of seeing a card trick is that a person has done it in front of your eyes - It's thrilling, amazing, you don't know how it's possible. If you see a card trick in a movie, it's just not that kind of feat: a card trick in a movie is almost meaningless." So conjectures Wallace Shawn in Anne Nicholson Weber's wonderful and inspiring collection of conversations entitled Upstaged: Making Theatre in the Media Age.
   
   As a professional magician, I often wonder if live magic performances can survive the age of digital dominance. And so, Shawn's comment is heartening. In fact, Ms. Weber's book is filled with affirmations for those of us who love and live by live performance, but her book doesn't stop there. The two-dozen plus conversations with top theatre professionals managed to delineate for me the theatre's unique strengths. The discussions are intellectual and entertaining. The artists interviewed never theorize, but instead draw from real life examples involving major theatre productions and renowned actors.
   
   Although the book was created over several years through phone conversations, taped face to face meetings, and written correspondence, I still felt like I was sitting in on an intimate group discussion, listening to candid views from the likes of Frank Rich, Julie Taymor, Peter Hall, and Paul Scofield. What gives this impression is the way the various artists use and reuse each others images and criss cross over common themes.
   
   One theme of particular interest to me was the unique communal experience of theatre where audience and performer bond. Robert Falls refers to this as the "communal and spiritual" element of theatre, Julie Taymor in turn speaks of "sacred spaces" and Peter Hall goes all the way to assert that in the theatre we naturally engage in "collective sharing" because "we are a tribal animal". As a variety entertainer myself, I found that Simon Callow drives the message home when he quotes the great British music hall comedian Max Wall: "Ladies and gentlemen, Thank you very much. You have been half."
   
   How did Ms. Weber asssemble such an impressive panel and get them to speak at length and so forthrightly? She must be a magician herself. I also suspect that the assembled artists must have been dying to talk on this subject - so passionate is their discourse. In any case, with the advent of the ipod movie player which renders cinema a pocket sized experiece for one, Upstaged is a timely book. And for anyone who is curious about what makes theatre a unique and essential human experience, Upstaged is a must read.



4. I left the theatre ten years ago. Most of the time I don't look back. This book stopped me in my tracks. While reading Upstaged, I mourned the loss of my life in the theatre and rejoiced having ever been a part of it. It made me want to do theatre again. It made me want to go to the theatre more often. Upstaged made me celebrate the undefinable and rare moments when the fusion of actor and audience becomes something so extraordinary that it leaves you breathless.
   Anne Nicholson Weber interviews an impressive collection of theatre artists, agents, and critics to look for an answer to the question, "How can theatre thrive in a culture dominated by film and television?" The answers she finds are refreshingly optimistic.



5. Having considered myself a reasonably thoughtful but casual viewer of film and theatre, I was curious to see what people actually in the field --directors, actors, playwrights--had to say about the relationship between screen and stage. I found this volume of reflections by luminaries in both fields quite fascinating. Ms. Weber clearly had wide-ranging conversations with her subjects, who include Tony Kushner, Simon Callow, Robert Brustein, Anna Deavere Smith, Frank Rich and many others. She compiled and edited (using helpful content sub-headings) the many remarkable observations by some very deep-thinking individuals. I came away from the book intellectually invigorated; many of the artists' ideas apply to all of the performing arts, and some of them have changed forever the way I will view human communication in 2- and 3-D.

2 comments about Robotech Art 3.

1. Seldom does a book tell a story about failure rather than success, and it's even more rare when the book's writer was major player who was involved in the failure. It's something I've almost never seen in my study of documentary literature.

   Set between the original series' first and second acts, and featuring the first act's main characters, ROBOTECH II: THE SENTINELS was an ambitious attempt to further expand the mythos of the Robotech anime series. Art 3, penned by series producer/writer Carl Macek, is a chronicle of what went into the production of this series, as well as the economics, creative differences, and politics that led to its downfall. There's also the story of the salvaging The Sentinels... where the four episodes that were completed were re-worked into a feature-length video release.

   Included are the synopses of the completed episodes, as well as the general story of The Sentinels as it would have unfolded. Although not quite as extensively illustrated as its two predecessors, Art 3 does contain `Bios' and renderings of the characters, as well as general descriptions of the vehicles and equipment seen in the series.

   The Sentinels, however, was not the only aborted attempt to add to the Robotech saga. ART 3 also recounts the making of Robotech: The Untold Story, a feature film that never saw wide theatrical or video release. A synopsis of the film is included.

   Although I highly recommend this book to the many Robotech completists out there, I'd better give you fair warning: Art 3 has long since gone out of print, and is next to impossible to find. If you ever do come across one at a reasonable price and in decent condition, consider yourself very fortunate...




2. The primary focus of this third installment of the Robotech Art books is the art and planned storyline of the failed series, Robotech II: the Sentinels. For an "art" book, this one is rich in text. However, if you are a die hard Robotech fan, this is the only reliable source of information concerning the series and its development (or lack thereof). I for one recommend it if you want to round out your Robotech collection.

5 comments about Who the Devil Made It: Conversations with ....

1. Peter Bogdanovich is a film director who loves cinema, and enjoys talking about it. "Who the Devil Made It" is a book that includes conversations between him and 16 renowned film directors. These interviews are quite different and were made at diverse times, but have in common one uniting theme: cinema. I already knew something about some of those directors, for example Alfred Hitchcock or Fritz Lang, but I hadn't heard a thing about others that aren't so well-known to the general public nowadays, for example Josef von Sternberg. In all cases, though, after reading these interviews I ended up learning more about their lives, experiences, and general philosophy regarding cinema.
   
   The name of this book is taken from a reflection made by one of the directors Bogdanovich interviewed, Howard Hawks, who when asked what kind of movies he liked, promptly and passionately answered "I liked almost anybody that made you realize who the devil was making the picture... Because the director's the storyteller and should have his own method of telling it."
   
   I cannot help but agree with him, and that is the reason why I recommend this book to you. It will teach you more about the old masters, and maybe motivate you to pay attention to "who the devil made it"...
   
   Belen Alcat



2. This book gathers together 16 interviews the author conducted with some of the greatest directors the Golden Age of Hollywood ever produced.
   
   All of them had their own style of film making, and are well worth searching out on video, and DVD.
   
   In their interviews, they provide insight into their craft and a glimpse of Hollywood's golden age that will add considerablly to your understanding, and appreciation of the Golden Age.
   
   If you have Netflix, or other similar service, then I heartily recommend that after reading this book you add films by these folks to your watch list, and enjoy.



3. Regardless of one's feelings about the egomania of author Bogdanovich (and it certainly bleeds through every page), he provides the creative world a great service by sharing his many years of interviews with some of the masters of American Film.

   Contained within these pages is a critical access to the creative process. Each director interviewed (obviously some more than others) provides invaluable insight into the nuts and bolts of film directing. Bogdanovich has compiled with this book, an indispensable historical document that does much to inspire, educate and guide any aspiring film director.

   I particularly valued Alan Dwan's insights into the importance of communicating character relationships into the narrative. I have incorperated much of the late director's invaluable advice into my attempts at stage direction.

   All in all a must have for anybody interested in directing or gaining insight into the creative process.




4. I have to give this book only 4 stars due to the overbearing writing voice of Peter Bog. The guy tries so hard to make sure the reader knows that he's had a close personal relationship with the great directors that it's painful to read. He also tries to put himself in this group as a director, for example, when he remarks on a play that a few of the directors in this books have staged, noting that he, too, has staged this play.
   Really, it's not what he's saying, it's how he's saying it.

   Anyway, if you can tune out Bogdonovich, the rest of the book is okay.




5. The title was suggested by Howard Hawks who once observed, "...I liked almost anybody that made you realize who in the devil was making the picture...Because the director's the storyteller and should have his own method of telling it." Hawks is one of the 16 "legendary film directors" represented in this volume. It is important to keep in mind that these are conversations rather than interviews such as those conducted by Robert J. Emery in The Directors: Take One and its sequel, The Directors Take Two, as well as interviews conducted by Richard Schickel in The Men Who Made the Movies. It is also worth noting that Bogdanovich is himself a distinguished director of films such as The Last Picture Show, What's Up, Doc?, They All Laughed (a personal favorite of mine), and Texasville. As a result of his own background, Bogdanovich's questions and comments reflect somewhat different interests and perspectives than do those of Emery and Schickel.

   I rate all of these books Five Stars but probably enjoyed reading Bogdanovich's book the most because the conversations ramble along somewhat messily, as most of my own conversations tend to do, and also because Bogdanovich is more actively involved in the interaction than Emery and Schickel are. As a reader, I feel as if I were really an eavesdropper as 16 directors casually share their opinions, information about specific films and actors, gossip, "war stories," and overall evaluations of their careers' various successes and failures. At no time does Bogdanovich seem intrusive or manipulative. Moreover, perhaps to an extent he did not realize when writing this book, he also reveals a great deal about himself...much of it endearing and some of it admirable. His passion for film making and his appreciation of the great directors are almost palpable. Readers' interests about various directors and their respective films obviously vary. I include myself among those who are die-hard film buffs and so I enjoyed reading every chapter and every word in each chapter. Indeed, each conversation was for this amateur "gourmet" a feast to be consumed with delight and, yes, gratitude.

2 comments about Building the Successful Theater Company.

1. Although, as the reviewer above points out, the book includes "from the trenches" advice, as opposed to condescending "how to" instructions, the content falls short for my taste. Additionally, the book seems to be written for a small, but established company, as opposed to a brand new company. This being said, I have two main problems:
   
   * The author pays too much attention to attaining a space (including information about insurance and lighting/sound instruments, etc.), but fails to discuss in any deep way how to develop a strong mission statement, to attract the first audience, how to pick material, how to attain rights... Most fledgling companies would do well to rent a performance space (which generally includes tech equipment and insurance). Most fledgling companies, too, completely miss the boat on selecting material, forging a working mission statement, attracting the audience, etc.
   * The inclusion of the Bailiwick completely baffles me. Yes, the company should be commended for taking chances on and discovering new talent. But lauded as a "successful" company? I think not. Bailiwick suffers from severe (and finally public) criticism amongst the Chicago theater scene, as evidenced in this fantastic article : http://www.timeout.com/chicago/articles/out-there/26890/wag-the-blog
   How can Mulcahy include a company that is in litigation for non-payment of a playwright and an artistic director who admits that "it wouldn't surprise me" if someone couldn't cash their check for $100? While the company may be (likely is) making money- I don't think it counts as success if the money is owed to the artists who brought it in.
   
   Overlooking these two major flaws, the book does offer some good resources. The appendices, especially may be of use to new theater companies. Most of the book, though, really serves more useful to an established theater company looking to grow.



2. Please notice the absence of the words "How To" in the title of this book. This is a book of practical advice from the world of experience, not a book of instruction with facts and statistics. You will need to know and learn a great deal to figure out how to start and build a thriving theatre company, and this book will give you only the merest outline of what you need.

   That said, this book does glean the best advice from companies like Steppenwolf, Bailiwick, Mixed Blood, and the legendary Pasadena Playhouse, and presents all this advice in a clear, readable manner. Be explaining how these above-average, highly-respected theatre companies built themselves up--their mistakes as well as their successes--we get a glimpse into the world of high motivation, artistic dedication, and pure love that turns something as uncertain as a theatre company into a thriving success.

   You'll still have to do the hard work yourself, and you'll still make some nasty mistakes right off the bat. Indeed, this book encourages you to do so early and often, so you get it out of your system. But if you want to get some good pointers and avoid the really egregious errors, this is your book.

1 comments about Taken by Surprise: A Dance Improvisation Reader.

1. Collaboratively compiled and ably co-edited by Ann Cooper Albright and David Gere, Taken By Surprise: A Dance Improvisation Reader collects together under one cover some twenty-one essays by well-known dancers, scholars, and historians. Discussing improvisation in dance within contexts and traditions ranging from Yoruban masked dance to Indian Bharatanatyam, flamenco, and more, Taken By Surprise offers an informed and insightful exploration into the art of impromptu dance, as well as the changing emotions expressed within its many forms.

4 comments about Notes to an Actor.

1. NOTES TO AN ACTOR: PRACTICAL ADVICE SHAPED TO THE WAY ACTORS WORK should be in the collections of any library catering to drama students, whether at the high school to college levels or be it a general-interest lending library. It comes from the author's own experience in the profession as both an actor and as a director and acting teacher, and provides a more practical, user-friendly book providing insights on exactly how actors work. Tips from a director's viewpoint, rather than the usual acting text, are particularly useful, gleaned from everyday life.



2. The simple honesty of this book is what surprised me. And yet Marasco manages to get to the finest details of what makes actors and acting great. There is humor and a matter-of-factness in his writing that makes this book accessible, easy to read, and fascinating on every page. You could just open up and start reading anywhere. (I actually read it all the way through.) But the more time I spend with this book, the more I think it is genious -- not because it is clever, just the opposite. It is truthful to the bone, de-mystifying, and very, very human. A part of me wants to keep it a secret, but I am happy to recommend Notes to an Actor. Highly recommend. To anyone.



3. There is so much to say about Notes to an Actor. I have had the absolute pleasure of being one of Ron's students and can say that of the dozens of teachers and professors that I have had and come across, he has been by far the best and most influential. He inspires his students to truly reach for that level of brilliance that is capable of being reached and to live up to one's own talents. I read this book cover to cover and can say it is a very real, tangible, direct approach to the art of acting. The problem with so many acting books is they are so ridiculous in their lofty ideals of what acting is or should be- but that is all they are- ideals. Ron goes for something much more than this. As his friend and colleague Kirk Douglas said- any actor who reads this book will become better because of it. For all actors everywhere- buy this book. read this book. if you have any care or passion for your art, you must.



4. For those of us who are not actors (but would love to play one on TV), Ron Marasco's new book offers a behind-the-scenes look at how actors think about their craft. It is not necessarily what we might have assumed. I will never watch a play or movie again without thinking about why the actors have made the choices they do.

5 comments about King Henry V (Cambridge School Shakespeare).

1. Once you get past the strange layout (described in other sections), this is a great edition of Henry V. It is easy and fun to read and offers valuable insights (not just for students either). Well worth a flutter.



2. This play more than any others in the histories glorifies Englishmen and England. His characters in this one are larger than life, but each has their own limitations and flaws. The play covers the time of the Battle of Agincourt when the French King Charles was so sure of victory that he sent a messenger to Henry to ask him to give up and to pay a ransom before the battle. On the eve of the Battle of Agincourt, the English were outnumbered five to one, Henry's troops were on foreign soil and riddled with disease. The scenes where Henry dons a disguise and goes out amongst his troops to bolster their confidence are great. The English managed to triumph in this battle where all was stacked against them mostly because of Henry's leadership. This is such a sweeping story that it is hard to condense in a few words, the plot of the play, but it is a wonderful example of Shakespeare's skills as a writer.



3. 'We few, we happy few, we band of brothers.' What more need I say? Henry V is an imortal classic of western literature. And this edition is complete and accurate. See the film if you want, but be sure to read the words at least once. They are inspiring.



4. "Now, if these men do not die well, it will be a black matter for the King that led them to it."
   
   Particularly poignant poetry in these times of pompous presidential sabre rattling and wars based on questionable facts.



5. This play is best known for the St. Crispian's Day "Band of Brothers" speech given by King Henry just before the battle at Agincourt. It is a powerful speech that rallies people at all times and everywhere. Sir Lawrence Olivier made a film version in 1944 during WWII and Kenneth Branagh made another as recently as 1989. You can count on there being more versions. Epecially so when computers can help them make spectacular battle scenes (that aren't really in the play) with less expense.

   Audiences love this play and they should. There is a lot to like and enjoy. I think upon repeated readings Henry becomes a more equivocal character than he seems at first. And readers of the King Henry IV plays will know him before he became King Henry and know something deeper about his personality.

   And of course there is the whole bit about the drive to France being sponsored by the Church to avoid confiscation of property by the Crown. Moreover, there is the slaughtering of the French prisoners, and his treatment of Falstaff (who dies offstage in this play). This isn't revisionist stuff, it is right there in the play, but it is easy to miss the first time you are trying to take in the play.

   In any case, this Arden edition is the one to buy and read from. Why? Because it has the most authoritative text, but that is only the beginning. It also shows variants between the early sources. The notes at the bottom of each page of the play are simply fabulous. The editor includes not only helpful notes explaining what might be obscure in the text of the play, he provides sources Shakespeare probably used such as Holinshed and makes for some very interesting study. There are also some helpful notes on how various scenes have been performed over time.

   And to make this sound more like an infomercial, you get more! The introduction provides great background material on the play, its sources, and how it has been performed throughout history. After the play, there is a photo reproduction of the first Quarto from 1600 and it is fairly readable. There are also a couple of maps showing the path of the English Army from Harfleur through other towns on its way to Calais and makes clear how they had to pass through Agincourt.

   There is also a helpful genealogical table so you can see the confusing claims used by Henry and the French nobility to make their claims. And there is a doubling chart so you can see how theater companies can perform all the roles with fewer actors.

   This is a great edition as are all the plays published by the Arden Shakespeare. The amount of work collected in these volumes is stunning and they will enrich your experience of the plays tremendously. I can't recommend them enough.

5 comments about Here on Gilligan's Isle/the Professor's Behind-The-Scenes Guide to Everything You Ever Wanted to Know About Gilligan's Island, Including a Complete E.

1. Our favorite Professor, Russell Johnson (with the help of Steve Cox) puts down his memoirs in a quick trip through Johnson's life and focusing on his time at Gilligan's Island. GI fans will eat this up, but being a GI fan, I actually found it a bit flat. There are anecdotes and memories Johnson shares, both good and bad. Johnson talks about the partial regret the actors had about doing the show (except Alan Hale who lived the role). He also talks about each cast member individually as well as their after show experiences. Next up is coverage of the cartoons and tv movies. His part of the book wraps up with brief talks of his family but then the narrative ends very abruptly and we are launched into the episode guide covering the show which was very cool.
   
   Overall, as a GI fan, I liked this book and read it in a day. However, the whole thing was really just surface material for the most part and done for the fans. It was great memories but there's no real meat going on here. There are some fascinating items in here such as Johnson's WWII experience and being shot down in the Pacific and the wrap up about his son is touching.



2. Boy, these Castaways really influenced a generation! After getting the book, and reading a few paragraphs before going to sleep, I had dreams about the "characters" all night. I think, even if the show would be considered somewhat "lowbrow art" if having any merit in this area, might lead a possible procession of "Life imitating Art"!!!



3. Millions around the world know him only as "The Professor" on Gilligan's Island. However, before taking the role that would change his life, Russell Johnson was already an established actor in both film and television.

   In this wonderful book, Johnson tells his life story in a modest and entertaining fashion. His good nature, and sense of fairness is evident throughout. The book covers Johnson's life as "Professor Roy Hinkley", his remembrances of the Gilligan's Island years, and thoughts about his fellow island castaways. The book has a multitude of terrific photos, many from behind the scenes. With nothing mean-spirited to say, this is a warm "feel good" read, that is over much too quickly.

   There are many fascinating stories of interest to hardcore fans. Perhaps the most significant for the author, concerns the pilot episode. Shot in 1963, but never aired until 1992, the pilot featured different actors as The Professor, Ginger and Mary Ann. Circumstances led to the recasting of these roles with Johnson, Tina Louise and Dawn Wells.

   Most fans know that the show's theme song was re-recorded for the second season to include "The Professor and Mary Ann". But in this book we learn that the musical group that performed the second version, later appeared on the program as the rock group "The Mosquitoes". Johnson devotes some time to the assortment of guest stars that visited the island, and the issue of censorship. Also covered are the post series years, and the events leading to the rescue movie, and other related Gilligan's Island projects. The "Ship's Log", a brief summary of the 98 episodes, concludes this thoroughly enjoyable book that all fans of the series will appreciate.




4. When I was growing up during the time this show was airing, one of the standard questions among my teenage friends was, who did you have a crush on, Ginger or Marianne? Interestingly, there was almost universal agreement that, although Ginger was hot, Marianne had that girl-next-door wholesomeness and sex appeal, and so she got the vote.

   Almost 35 years later this same question came up at a lunch with a bunch of my work associates, most of whom are middle-aged computer geek types or engineers like me. The funny thing was, everybody agreed they still liked Marianne. I guess some things never change.

   But after her, the Professor was my favorite character on the program, and years later, when I was a college instructor briefly myself, I attributed it at least partly to the example Russell Johnson set on this show, as silly as that might sound. That maybe, and the original Star Trek, which made science and technology glamorous and sexy and very ungeeklike.

   Well, for all those who loved this show like I did and were in some way inspired to do something in their lives because of it, this book is full of great behind-the-scenes stories and trivia about every aspect of the show and characters. This book will be appreciated by all fans of this classic American 60's comedy series.




5. The first page of my book reads: "To my Great neice Kim--from your Uncle--Russell Johnson The Professor, Love to you" This is a wonderful book and the behind the scenes info is so way cool!!

5 comments about The End and the Beginning (The Official Guide to the X-Files, Vol. 5).

1. I love these Official Guides for the X-Files. They tell the entire episode in just enough detail if you may have missed something or have not paid enough attention. They also have the "Backstory" so you could find out information you ay never have even heard of. They have quotes from the fabulous stars. I just wish they would have had more from and about the stars. Bt other than that they are fabulous. I have my rating as 5 stars but because of this I would pick four and a half if I could. They tell everything you need to know and more about the greatest show to ever air!



2. The End and The Beginning is just another great book in a great collection. It is one of the most descriptive guides yet, with great color photos and a play by play look at each episode from season 6. If you are a true X-phile, this book is a necessity. This is a great look at the series while Scully and Mulder were still on the same planet, so to speak.



3. This is definitely a must-have for any X-Phile, especially if you missed an important episode of Season 6. It contains a detailed summary of every episode in a mini novel-like form, with commentary about that episode. It's also great to have if you desperately want to view a Season 6 episode, but you didn't tape it. In this book, you can READ the episode. I know it's not the same as watching it, but it's something. And for all you 'Shippers like me out there, you can re-live all the greatest 'Shipper moments, like in the episode "Triangle."--the famous kiss, and Mulder's famous "I love you" line to Scully. And let's not forget the part in "The Unnatural" where Mulder teaches her how to play baseball, or in "Dreamland" where Mulder dances in front of the mirror while in the body of Morris Fletcher.

   The book also contains colorful photos commemorating every unforgetful moment of the season. Now I can't wait for the next volume. I'm one of the unfortunate people who missed the Season 7 finale, where Mulder gets abducted and Scully announces to Skinner that she's pregnant . . .




4. I admit to being a X-Files addict, and so this was necessary to try to understand the show. It, and its previous 1 through 4, have made my interest in the X-files grow as I finally got clues and tremendous answers in reviews and stories from many missed episodes. A lot of work obviously went into these books, and I wait eagerly for volume 6.



5. I love this book,I especially like the behind the scenes stuff, it's great.I recommend this book to anyone who is the biggest fan in the world to the show like me.It has a great picture of David Duchovny in front of the mirror (very cute). I have almost all of season 6 on tape so it was very interesting to read the behind the scenes stuff and see how they made the episode.I have all of season 7 on tape so I can't wait for the next book to come out.I am running out of blank tapes!

2 comments about Theatre Alive!: An Introductory Anthology of World Drama.

1. I am using this book as a textbook for a theatre class. It contains good plays, a clear dissection of theatre periods, and it organized very well.

   The version of "A Doll's House" that is in the book is not even close to the original, so if you want to use that, try somewhere else. Other that that, the book is okay, but not the best.




2. Contains the following -- Everyman, Oedipus, the Hypochondriac, Uncle Tom's Cabin, A Doll's House, Izutzu, Largo DeSoleto, The Adding Machine, The Hairy Ape, Waiting for Lefty, Othello, Cat on a Hot Tin Roof, The Bald Soprano, The Flying Dutchman, Children of a Lesser God, Body Leaks.