No comments about Body Voice Imagination: A Training for the Actor (Theatre Arts (Routledge Paperback)).

4 comments about Jane Austen in Hollywood.

1. Easy and accessible reading on a great writer. One of the best things about this book is the lack of critical consensus on so many important Austen issues (especially concerning her ostensible feminism and her indisputable irony)--it's always amusing (and enlightening) to listen in on a civilised, academic brawl! Do make sure to get the 2nd edition with 14 essays including the new one, "The Mouse that Roared."



2. This book really helped me explain Jane Austen to my husband. Now he watches the movies with me quite contentedly.



3. The second edition (available only in paperback) contains a new essay, "The Mouse that Roared," about Patricial Rozema's film of Mansfield Park.



4. I'm a big fan of Jane Austen in all forms. I've always thought that a mediocre Austen film is better than none at all. This book takes a fascinating scholarly look at Austen's film treatment. The authors say everything all true Austen fans have muttered about the films ("where's THAT in the book?!") and explains why it was done in such a way (for example, modern filmgoers won't appreciate an ugly, boring Edward Ferrers). Contains amusing critique of Thompsons S&S--that Austen's originial may have been more "feminist" than Thompson! If you enjoy the original written Austen and/or the recent film versions, you'll love this book.

2 comments about Man From Nebraska.

1. You have to be REALLY creative set-wise to put up this production. It takes place in a ton of different locals. It seems much more like a short story with visuals than an actual play. Was an enjoyable read, though. Not quite as good as Bug.



2. Tracy writes with a realistic flavor and urgency.

1 comments about Encyclopedia Of The Musical Theatre (Da Capo Paperback).

1. This book is a must-have for people who work in, study, or love the musical theatre. When did a particular musical open? Who wrote it, and what else did he/she work on? What was the chronology of a performer or director's stage career? Were there revivals, London productions, tours? Who starred in a given production? While there are many books that can help find such information, no other book does it as efficiently. As a Broadway producer's assistant and as a life-long theatre buff, I have found this one-volume Encyclopedia a vital source of information. While all of Stanley Green's books are informative and entertaining, this is the one I turn to when I need the facts or figures fast. If musical theatre trivia is your bag, this is one of the motherlodes --I recommend it highly!

5 comments about How To Be A Working Actor: The Insider's Guide to Finding Jobs in Theater, Film, and Television.

1. 'How to Be a Working Actor' is divided into three sections: Nuts & Bolts, The Breaks, and Script Analysis.
   
   Even after being in "the biz' for a few years, I found the first 217 pages (Nuts & Bolts) to be super helpful and informative. It suggests some of the most effective ways to create an actor resume, flattering colors and clothing types to wear to an agent interview, and the best books and guides to read to find work. It also explores ways to create a website, average wages for various acting jobs, and the differences between NY, LA and other cities (when I read this book I didn't want to move from NY to LA because of "parking", but when I did make the move I found out it wasn't that bad!)
   
   This book features tips from casting directors and talent agents, and, like Michael Bofshever's 'Your Face Looks Familiar: Journey of a Working Actor', anecdotes from professional actors.
   
   Maybe I shouldn't be writing this stellar review, when I'm an actor myself, looking to hone my skills and career abilility like the next person. But I believe the universe gives back, and there's a role out there for all of us.



2. This book is very helpful for anyone seeking to land an audition - once inside the door, your own talent will carry you......or not. The book helps you get a foot in that doorway.



3. I read this book when I first decided to risk a career in acting several years ago. It was very helpful in that it covered all the basics (and not-so-basics) that I would need to learn: terminology, career steps, pitfalls, different industries and cities. I still occasionally refer to it.

   Yes, it is a little outdated now, and I would imagine it's more useful to those in LA or NYC with its heavy focus on TV and film, but I appreciated the little section on acting in Chicago. All in all, its breadth makes it a good investment.

   FYI, for Chicago actors (bless your hearts), be sure to pick up "The Book," published by the trade paper PerformInk. A great (and necessary) resource guide to acting in Chicago.




4. I like this book but is has been around for a while.
   There are a couple of new books out there that are as good or better,
   depending on where you are in your career.
   Check our Twelve Step Plan To Beciming an Actor in LA.
   It is a fabulous guide for anyone breaking in the business.

   Sam Hammel
   LA




5. A very straight-forward resource for any aspiring actor. Novice or otherwise, this book gives the inside scoop and is honest about it. As I'm not one to want to put myself out-on-a-limb (no pun intended) without some plan of action and notion of how to stay solvent, what I really like about this book is the author's ability to fill in all the practical details and guide the reader through "The Business." In this day and age, where scams abound in and around Tinsel Towne, I wouldn't leave home to pound the pavement without first having read this book. I can't say enough good things about it!

No comments about Political Campaign Communication: Inside and Out.

No comments about Marion Davies.

5 comments about Playing the Piano for Pleasure.

1. I've been looking for exactly what's in this book. I began taking piano lessons several years ago and was pretty old then. I made progress but always knew I was missing something important.
   
   Right from the first few paragraphs I began to see what was wrong and carefully followed Cooke's advice beginning with repairing fractures. Good grief - the improvement was obvious and immediate. I'm following each item as it comes up and I think I can memorize pieces that I never thought possible.
   
   His respect for Hanon bothered me (and an earlier reviewer) but I'm going to dig the old consolidated edition out and use it. I'm a pretty good sight reader and those Hanon exercises may be the reason. If that's not true, there's nothing really lost.
   
   Cooke loves the piano as much as Noah Adams (in whose book I found the reference to this book) and the author of "The Piano Shop on the Left Bank and me.



2. I first read this book years ago, when I wasn't a serious pianist, and it helped me to become serious. Mr. Cooke very well conveys his joy and enthusiasm, plus his seriousness about music and the piano despite being an amateur -- and these qualities are nicely contagious. Also he gives many specific suggestions that may be useful to some pianists. For example, I gained from his suggestions for fixing tricky passages, which he calls "fractures." He likens the process to the healing of a bone fracture, which, as he explains, becomes the strongest portion of the bone when healed.
   
   However, the book is anachronistic in two seemingly contradictory respects. On one hand, there is a casualness and inefficiency of expression that we would rarely if ever find nowadays in a published book -- I guess the word is "quaint." I don't mean in any way that it is "rambling," but with the benefit of word processing, I'm sure Mr. Cooke would have deleted, condensed, or re-phrased much of the material. But despite the casualness, while he begins by saying how personal the book is and expressing merely the hope that his thoughts might be helpful to some people, he writes most of the book as though the recommended practices MUST be followed -- or else! Both of these things -- the casualness and yet the harsh didacticism -- reflect the era, and they mark the book as the period piece that it is. But, take it for what it is, and you can only gain from it.
   
   I benefited from other specific suggestions too, such as for the practicing of cross-rhythms. But I disagree with a number of the other dictums; at least they wouldn't be good for ME. For example, I don't agree that it is crucial or even necessarily good to practice at least an hour each and every day no matter what, and I don't agree that it's necessarily bad to let yourself "forget" pieces that you're learned. In fact, I have found that sometimes it is only by "forgetting" a piece that you can later bring good new perspectives to it.
   
   Nevertheless, this book is "5 stars." We can quibble about some of the specifics, and we can quibble with aspects of the author's approach. And if you're looking for an instructional and inspirational book on piano playing, there are other, far superior books, particularly Seymour Bernstein's "With Your Own Two Hands." But Mr. Cooke's book has much to say in its own right, and you might literally LOVE it. But please don't necessarily take everything in it too seriously, and don't feel guilty if you don't follow everything the author says!



3. This is a wonderful book for any dedicated amateur pianist. It contains great, detailed advice for planning practice sessions--more practical detail than I've seen in any other piano book. Moreover, the writing is delightful. Mr. Cooke was a journalist for the New Yorker in the 30's and 40's and obviously really knew his craft. While most of the book is devoted to improving piano skills, he does drop a hew hilarious anecdotes. One priceless one involves his use of a silent keyboard and how he manages to drive James Thurber crazy with all the mysterious tapping.

   I've incorporated many of his suggestions for improving practice into my own daily routine. His suggestions are practical, spot-on, well documented and easy to understand. Some bits of the book are somewhat dated. I take personal exception to his recommendation of Hanon. But, all in all. if you're a dedicated amateur pianist, this book should be on your shelf.




4. This book is written in the 1930s but none of the concepts presented is dated at all (ok, maybe except recommending Hanon). It is inpirational and a fully enjoyable read. It contains advice on how to practice and memorise. The author also shared his own repertoire (75 pieces in total, iirc), and it has given me some new ideas on what to play next.



5. I am completely thrilled that they reprinted this book. I have an original 1941 edition that I have been reading and rereading ever since I got it. It's not just for the beginner, the novice, or the person who used to play the piano. Anyone who counts themselves as a hobby pianist, or has some problems with enjoying their practicing as much as playing "finished" pieces will garner a lot from this book. And anyone who enjoys piano at all will probably enjoy reading Cooke as he extolls on his beloved hobby. For those who are working seriously at their piano he offers concrete practicing tidbits on everything from how to divide your practice time, to memorizing. His lists of suggested music at different levels are a great place to start if you don't know where to look for your next piece of music. A wonderful, wonderful book.

5 comments about The Complete Films Of John Wayne (Film Library).

1. I ordered this book afteer seeing it in Williams, Arizona. My husband is a great fan of John Wayne and the story and pictures were so enjoyable. I find him looking at it all the time.



2. One of the best books on John Wayne films that I have ever
   seen. I already own a softback copy and intend on purchasing
   a hardback copy. I would recommend this to any serious John
   Wayne Collector. It gives you a complete history of all the
   films with a list of actors and a short bio of the film with
   some pictures.



3. Aside from the illustrations, I don't find much to recommend this book. There are no commentaries about the making of Wayne's films, no discussion of Wayne's working methods, no critical analysis, and nothing about the films' financial impact in the theaters. No character names are included in the cast lists, so they are basically useless in finding out who played who. Much of the information is inacturate. In the introduction the authors state that in his early days Wayne appeared in several Ham Hamilton comedies, but no such films appear in the main body of the book (in fact, I've never heard of a screen comedian named Ham Hamilton, although there was an animator by that name working for Walt Disney at the time). The plot synopis to many of the films are incorrect, listing wrong character names and describing incidents that don't happen in the film. And I'm still trying to figure out why Ward Bond is listed twice in the cast list of DAKOTA. There's a really great blooper in the write-up to CHISUM: The authors state that the true-life characters of Pat Garrett and Billy the Kid are included in the story and that Garrett is gunned down by Billy! Say what? (No, this doesn't actually occur in the film.) Oh, yes, if this book is the "complete" films of John Wayne, then why isn't COLLEGE COACH (1933) included?

   My final verdict: Skip this book and seek out a copy of Allen Eyles' far superior (and, unfortunately, now out-of-print) book JOHN WAYNE AND THE MOVIES (re-issued as simply JOHN WAYNE).




4. If you are looking for John Wayne films this is the book to have. It tells what the film is about, who also starred in and what year it was made. It also has plenty of photos to help you recognize what movie it is and if it is the one you are looking for. The book has some interesting facts about some of the movies.



5. The real testimony to the value of a resource is whether it occupies eternal space on your shelf, gathering dust, or if it becomes so worn out that it bears replacement. I have dogearred, destroyed, or otherwise "used up" two complete paperback copies of TCFOJW over the past twelve years since it first appeared. It was not until the last replacement that I finally relinquished and went to a hardback copy. This book is an indespensable (if not exhaustive) resource for any serious John Wayne film buff. My only complaints (and, subsequently, suggestions for future revisions) are that the cast and tech lists are not complete; and that Wayne's appearences on radio and television are not documented. Another helpful feature would be to show which films are available in video and letterbox formats. You need this book

No comments about Thinking Shakespeare: A How-to Guide for Student Actors, Directors, and Anyone Else Who Wants to Feel More Comfortable With the Bard.