1 comments about Figures Traced in Light: On Cinematic Staging.

1. David Bordwell is one of America's most challenging film scholars. He continually offers precisely-argued alternatives taking issue with dominant academic versions of the "institutional mode of representation" of how we should look at film. This book represents a good contribution to a key debate he wishes to continue in film education, namely the importance of an analytic cognitivist based approach based upon the concept of "solving problems." It is easy to parody this argument. Many have done so in the past. But what is important is reoognizing this scholar's intellectual integrity in arguing for a "bottom-up" approach to understanding film style rather than the "top-down" methodology that has dominated most examples of contemporary post-structuralist, post-modernist, and cultural studies approaches over the past few years.
   
   FIGURES TRACED IN LIGHT deals with key issues of cinematic style and staging. Beginning with frame analysis of some scenes from JERRY MAGUIRE, Bordwell defines the current role of "intensified continuity" in contemporary Hollywood productions and then goes back to the past to counterpose the long-take, stylistic innovations of Louis Feullade and Kenji Mizoguchi. He follows them with detailed examinations of the films of Theo Angelopoulos and Hou Hsiao-hsien in terms of their distinctive creative approaches from different historical eras. All these directors deserve to be better known and Bordwell makes his usual cogent arguments for us to return to this lost tradition of cinematic art and specific production contexts that overshadow anything in European and Hollywood cinema today. It is, in short, an argument for precise attention to cinematic detail rather than today's current tendency to gloss over significant artistic differences in favor of monolithic theories that do not explain the creative nature of particular films.
   
   This is a lucid, well-written book taking issue with certain concepts of cultural studies sadly in vogue today which sacrifice significant details at the altar of banal generaliies. It challenges supposedly established theories such as the role of modernity influencing cinema as a twentieth-century art form as well as other ideas such as the dominant role of a "cinema of attractions" at one particular era of film history. No matter the time and location, good filmmakers are "active agents." But this does not mean that they operate in a vacuum.
   
   As Bordwell states. "The filmmaker creates out of the norms and forms available in the craft milieu or out of the possibilities in adjacent media that can be brought into that milieu." (257) It is a modest proposal but one helping us define what makes great art as well as factors defining any great director.
   
   As well as challenging fashionable ideas, the book is not without humor as the author's references to contemporary "Europuddings and hypehanate productions that had neither local flavor nor radical ambitions" (267) show. In addition to dragging fashionable gurus such as Zizek down from their pedastals (260-265) and arguing for a more rigorous approach to problem solving, Bordwell often comes up with witty sentences that will long remain in the reader's mind. "If you hire a tax accountant, you will be best off with one vigorously committed to problem-solving. (You don't want one who will produce a Lacanian reading of your IRS audit notification) [251] I doubt whether academic champions of Lacan and Zizek would also when they face their yearly audits rather than university departmental Merit committees!
   
   This is a very important work, rigorous and scholarly in every sense of the work. It not only argues for the importance of a particular type of cinema illustrated by these selected directors but for a particular type of reception making us all reponsible for what we see. "HOW we manage to see more and more depends on us."

5 comments about The Beverly Hillbillies: A Fortieth Anniversary Wing Ding.

1. I became hooked on this author's books with the first one I bought (about the Munchkins), so it's no surprise that I love this one too! Once again, it's full of rare photographs, little known trivia and fascinating tid-bits. Even if you only had a passing interest in The Beverly Hillbillies, you're going to love this book. And if you're a fan of the show......you're going to be in Seventh Heaven with this one! You'll love this as much as Elly May Clampett loved her critters!!



2. This is a great book on the long running TV series"The Beverly Hillbillies" but where's the Max Baer(Jethro) Autobiography?It's been long overdue!!We're all anxiuosly waiting!!



3. The critics hated and audiences loved it. CBS only put it on the air because they had no other good sitcoms in the fall of 1962. What happened was a revolution in sitcoms. "The Beverly Hillbillies" went on to become one of the biggest hits in the history of television. It climbed to the top of the ratings faster than any sitcom in history. It is no wonder that forty years later audiences still love this show. With the exception of "I Love Lucy", not other sitcom has been so durable and successful in syndication. Thanks to Mr. Stephen Cox for writing a book about a sitcom that truly deserves such recognition. "The Beverly Hillbillies" was a runaway hit and a phenomenon. But, for me, it is simply a funny show that I don't mind watching over and over again.



4. Another winner for Steve Cox! His relaxed writing style makes for a fantastic read, and the photos compiled for it really make this collection stand out. A must-have for any fan of the BH, or heck - TV for that matter.



5. For anyone who is a fan of "The Beverly Hillbillies" (or is interested in TV history) this is the book for you! Steve Cox has a way of writing that makes you feel as if he is in your own living room telling you the remarkable story of the Clampetts. The book contains: fantastic black & white and color photos, behind the scenes stories, great interviews with the cast, an episode guide and a detailed history of America's favorite hillbilly family. So set a spell with Steve Cox as your guide and relive all the fun and laughter of The Beverly Hillbillies. Y'all read up now y'hear.

5 comments about Rod Serling's Night Gallery: An After-Hours Tour (The Television Series).

1. This book is everything that a book about a television series should be. It's smart, well-written, well organized, and entertaining. Great job!



2. Maybe I am missing something, I ordered this and expected the book to be great, reading most of these positive reviews. WRONG! I would at least expect the book to have color pictures of the titled stories. NONE exist, this is not worth the price!



3. . . . a public comment on a bizarre book, displayed here on Amazon. Each chapter is unique in its own way -- not because of any special literary quality, but because each entry captures in words, suspends in the human imagination, some frozen moments of a classic television series.
   This commentary -- a small, ordinary piece in black and white. A piece of writing known as the customer review. Offered to you now, thirty-nine simple words of a reader's reaction to a 397-page nightmare . . . "
   
   A MUST READ for any Rod Serling fan! Skelton and Benson have written a wonderful book. Their commentary reflects a brutal honesty, lauding the Gallery's outstanding stories while panning its weaker entries. A fine tribute to an underrated series!



4. I could not be any more annoyed with this extremely opinionated book. The authors inject their lousy brand-X criticism about each show and miss the mark on about every one: e.g. Patty Duke was outstanding in her episode and it was essentially the same brilliant character she played in "Valley of the Dolls". The moon landing mousetrap episode is hilariousy goofy in a way that only Serling could have pulled off. Then, on the other hand, you have them fawning over "They're Closing Down Tom Riley's Bar" -- an excellent piece to be sure, but my God do they oversell it; in the end it too has some problems. One extra star simply because they did do some research.



5. Im 24 , And most of what I recall about Night Gallery was what I initially saw chopped up on the sci-fi channel when I'd stay up late during my summer breaks . Needless to say when the first season dvd came out, I purchased without hesitation. I loved it. They just dont make TV shows like it anymore folks, and while it may not be as highly regarded as The Twilight Zone, Night Gallery holds a special place in my heart. So I was very frustrated when I looked around the net for information and came up a little less than empty handed for my troubles. I stumbled upon this book one night while trying to see if there was a release date for season 2 (there isn't) and at first worried that the book wouldn't warrant the 54$ price tag ...Well I couldn't have been more wrong in my assumption. If you are a fan of the series this book is worth well over that. This book covers almost every single aspect of the show from its inception to the years following its cancellation, and everything in between. You can tell from reading this the authors really took the time and care to gather information that this often misunderstood series deserves . I dont regret this purchase at all. It'll make a beautiful addition to any classic horror, or just television in general fan's bookshelf.

3 comments about Making Musicals: An Informal Introduction to the World of Musical Theater.

1. Everything which is written in that book of Tom Jones is completely and utterly true. It is somehow consoling to read that everybody in this "bloody" business has to go through the same scenario, every time over and over again. Facing this fact it is the only way that you will take all your energy together and start all over again with a new project. When you are many years in showbusiness you can only confirm what is written in this book. When you are just starting, then it might happen that young people rather tend to think they can do better and avoid some of the bad experience. But, as in life, you have to go through bad experience and bump you head against the wall, too, in order to learn.
   We are actually in a new project now. There are people with experience in this project and younger people with less experience. With the help of this book and in workshops we try to convince the young ones that the principles of making a musical project and the procedures are always the same and must not be neglected otherwise you will fail.



2. Tom Jones' MAKING MUSICALS is taken from a series of lectures Jones gave for a class in writing musicals. I found this little book very interesting and full of good advice. Jones doesn't pretend to tell you everything you need to know to write a musical or give specific techniques to write a hit. He's merely passing on what he has learned in his very long career as a writer of musicals. (He started in the 50s writing nightclub revues before hitting paydirt with the American theatre's longevity champ, THE FANTASTICKS, which ran an astounding 42 years.) He gives a brief overview of the history of musical comedy and some basics about getting started on writing your own musical. A lot of this information is available in other books, but what really sets Jones' book apart is the chapter on collaboration. Mr. Jones ought to know a thing or two about collaboration since he and composer Harvey Schmidt had a collaboration that lasted from the 1950s into the 21st Century, when Schmidt chose to retire. Jones tells how to choose a collaborator as well as how to make a good collaboration last. This chapter ought to be mandatory for all aspiring collaborators. (I wish I had read it before my own ill fated attempt at collaboration!) While hardly comprehensive, this is an excellent little book. Four stars.



3. Finally, an insider has published a book giving a first hand account of the process of writing a musical. While the first half of the book covers the history of the American Musical very nicely, the second half does a superb job of guiding us through the difficulties in writing a musical.

   Tom Jones leads us through what makes a musical, what the difference between lyrics and poetry is in song writing, and makes suggestions regarding how to find a collaborative partner and how to get your work produced.

   I consider this to be a required text for anyone considering a collaboration on a musical.

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.

1 comments about West African Popular Theatre (Drama and Performance).

1. the three authors have found an excellent way of trying to put into writing an intense experience in professional drama in west-africa, an experience which is way beyond the western concepts. It communicates in a very lifely way their scholarly preoccupations mixed with their human insights.

5 comments about Going to Pieces: The Rise and Fall of the Slasher Film, 1978 to 1986.

1. Just finished reading GOING TO PIECES and thought it was a good but not great book on slasher films. It's very well written with good detail (such as release dates, budgets, how much they made, behind-the-scenes trivia, etc.) but in most cases doesn't give any new information that hasn't already been printed elsewhere. Some films are mentioned only by title while others are given more description. The book also goes beyond 1986 and dedicates it's last chapter to the resurgence of the slasher film in the late 1990's. There are just over 100 black and white photos and a bibliography and brief description of other books related to horror and slasher films. The only drawback is that the author gives away the identity of the killer or killers when describing the films and the only major mistake I noticed was in chapter 4 when Rockoff references ALIEN he mentions how "an alien spawn bursts from the chest of crew member William Hurt." It was of course John Hurt who was in ALIEN.



2. After meeting Rockoff I picked up his book. I expected it would be filled with references that fans would appreciate. What I found was so much more, as Going to Pieces is one of the more thoroughly researched books about any film genre that I have read. Rockoff's interviews are fresh and he tracked down a lot of people whose contributions have largely gone unnoticed. What's more, Rockoff's style is unpretentious and often very, very funny. I loved this book and if you want to go beyond the films and filmmakers every other book or magazine cites, then this book if for you, too.



3. Loved this book! Lots of interesting factoids about many of the stand-out Slasher-thrillers from the 70s/80s, and plenty on the ones barely seen. Rockoff knows his stuff and shares it in what was for me a nostalgic, breezy read. As others have written, I would've preferred a longer, more extensive guide with a larger number of stills, (and color would've been nice), but all-in-all
   a much needed addition to any Horror-geek's library. If you love drive-in classics like 'The Burning', 'Silent Night, Deadly Night', and 'Nightmare', pick this one up.



4. Upon first appearance I have to admit, I felt somewhat cheated. The book was smaller than I'd pictured it would be for a hardbound, there wasn't a dust jacket, and it looked pretty lean considering the audacity of its title. I was hopeful upon ordering but disappointed in "presentation," otherwise I would have given this book a 5-Star Rating. The reason I give this book the other four stars is because this author knows exactly what he is talking about! The thought and attention to detail are absolutely amazing: an absolutely delightful and juicy read! I'm a longtime fan of slasher films, merely for their entertainment value, of course, :0}, and have contributed to this particular genre personally on more than one occasion. Hardcore fans of the 'slasher genre' should, and will, crave this book as though it were 'the law' of the subject! Trust me, trust me, trust me, having experienced this genre firsthand, both inside and out, you will not find a better reference for this unique list of sub genre horror films! This book is the first truthful, forthright, and unbiased look at a mini-genre that was despised publicly but loved inwardly. And, despite the supposedly 'lurid' premise of its subject matter, it never strays from being 'politically correct'. A+



5. This thoroughly entertaining book is a must for any fan of the horror/slasher genre. Author, Adam Rockoff, has compiled an impressive list of slasher films, both the well known and the little seen. Rockoff offers detailed information for the majority of the films he has listed in the book, including plot synopsis, behind the scenes anecdotes, quotes and stories from those involved in making the movies. The author is not afraid to offer his own opinions (both good and bad) of each film as well. The book is filled with lots of photographs as well, although curiously, none are color photos.There is even a list of films that go by multiple titles at the back of the book. This book has inspired me to search out many of the films reviewed within which I haven't yet seen. If I have a quibble (and it is a small one) it would be that in Mr. Rockoff's breakdown of each film's plot, he reveals (and quite logically so) the film's ending, possibly spoiling some of the tension for you if you haven't yet seen the film. Also of note: at 214 pages, some may feel that the book's [$$] pricetag is a bit steep. That aside, this is a great reference guide for anyone who appreciates a little blood and guts with their popcorn.

3 comments about Pacific Overtures.

1. "Pacific Overtures" is the political euphemism used by Commodore Matthew Perry in 1853 when Japan was persuaded to open up trade relations because of the display of naval power put on by the United States. The clash of cultures as the "Floating Kingdom" was forced to end centuries of enforced isolation is the subject of this unique musical, which dramatizes Perry's expedition to Japan.

   John Weidman's original idea, which first came to him in a Harvard lecture hall in 1966, was realized a decade later when director-producer Harold Prince decided to adapt various Japanese theatrical techniques and conventions, and Stephen Sondheim was brought in to write the music.

   The cast of "Pacific Overtures" was entirely Asian or Asian-American, a casting commitment that makes "Pacific Overtures" a rare musical to see in performance, which is a shame because of not only its presentation of history but because of its imaginative use of Kabuki. Among the Kabuki traditions adapted to the show were the use of males to play the female roles, the Reciter who comments on the proceedings, stage hands completely clothed in black, and on-stage musicians. Act I ends with a Kabuki lion dance, which provides the image for the album cover.

   While it would never be a very popular show, this musical is certainly a fascinating attempt that is of much interest to the Westernization of Japan as it is to devotees of the American stage. Ultimately, Prince has a bigger impact on the show than Sondheim, which takes some doing to be sure. That is why it this book might be an even better way of approaching this show than listening to the CD, although the best approach, of course, is to do both.




2. Incredible piece of avant garde musical theatre. Best when seen, but great to read and listen to the cd too! Seldom produced, it combines the techniques of Kabuki Theatre with Western Musical Theatre in a way that only Sondheim could conceive.



3. Stephen Sondheim and John Weidman's musical is something that all countries around the world should read. Sometimes, though, the lyrics may seem a bit tooooo sophisticated for such a universal play. But, it is probably one of the best books for a musical you could find.

1 comments about Le Reve: A Small Collection of Imperfect Dreams.

1. I saw "Le Reve" in Vegas shortly after it opened and consider it a master work. Truly a fantastic show. I bought this book sight unseen to have some record of the production other than the souvenir program which did not have production pictures at that point. This book brings back wonderful memories of the show in fantastic photographs. In addition there are great rehearsal photographs and a biography with pictures of the creator of the show.
   
   I highly recommend the show and this book to anyone who appreciates imaginative theatre and beautiful photography.

4 comments about Confessions of a Mormon Boy: Behind the Scenes of the off-Broadway Hit.

1. Steven Fales was born into a typical mormon family in Utah, but realized at a young age that he is gay. The Mormon church (the Church of Jesus Christ of Later Day Saints) teaches that homosexuality is a disease, and Fales at first bought into that nonsense without question. He tried the Church's "reorientation" therapies, got married at a young age and quickly fathered two children.
   
   Of course, everyone suffered as a result. The marriage ended in divorce, and Fales was excommunicated. Fales' life went into a tailspin, but he managed to pull himself out and come to grips with the circumstances of his life. That's the story in a nutshell, a rather remarkable one at that.
   
   Fales' one-man play tells his life story (so far, he is still a relatively young man)in an honest and direct manner. He does not "trash" the Mormon Church. Quite to the contrary, he goes out of his way to mention the good qualities of the Mormon culture -- hard work, charity, treating others well (as far as their religion will allow).
   
   This book consists mostly of the script of the play. While the script is, of course, written for a performance, it is quite readable as a book. It is also quite short.
   
   If you do not know much about the Mormons, Confessions will give you a small and incomplete introduction. Under the Banner of Heaven: A Story of Violent Faith provides another very worthwhile but equally incomplete look at Mormons, focusing on some the nuttiest of the lot. For a far more complete look at the Church of Later Day Saints, read Mormon America: The Power and the Promise.



2. While it is not the right, or authority of any one member of the LDS church to judge another human being all Latter Day Saints accept the responsibility of upholding the commandments and doctrine of God.
   As a member of the church I have never met anyone that condemns another person because they are Gay. And any situation that involves someone being excommunicated is treated with great care nor is that person looked down on by others.
   
   Gays have been persecuted and abused for their life style and treated as something less than human. It's tragic and it's wrong. I'm happy to see changes for the better being made. Yet while gays are finding progress being made; some great, some small; there is still areas which are not subject to public popularity, or anything else and one of them is the commandments and doctrine of God. It's common to see people, organizations, and institutions bend under pressure if their views or policies become unpopular. God does not change His laws because something is unpopular. It is up to us to accept His laws and live by them.
   
   I can't understand, but only imagine, a small part of the pain and suffering a person must feel to be excommunicated. It's human nature to be angry at anything or anyone who is associated with the church because of that.
   On the other hand it is unfair of one reviewer to say, "... his church that was quick to rid itself of a human life." That judgment of the church is not only cruel but short sighted. The LDS church does not throw away human lives nor are they "bigoted". As you speak or write those words you hang those labels around the necks of more than 12 million Mormons and everyone that hears or sees your words will think of them when someone says they're Mormon. If you are gay and have been struggling against the rumors, lies, and stereotypes spread by others, you can easily comprehend how damaging a few disparaging words can be. Yet, you use the same practice on us that you have been fighting against. So, along with the litany of other misconceptions Latter Day Saints must deal with you now add "bigot" and antipathy to it.
   
   I can not speak with the understanding or knowledge of what it's like to live in this world as a gay person. Yet I do posses the understanding and knowledge that someone who is gay is a living, breathing person; a human being and just as everyone on the face of this earth they earn respect and courtesy on the merits of their individual actions. All human beings are Gods children and His laws and commandments are the same for every one of us. It is the responsibilty of each individual to either ignore or abide by them.



3. Fales, Steven, "Confessions of a Mormon Boy". Alyson, 2006
   
   Painful and Important
   
   Amos Lassen and Literary Pride
   
   I must admit that I know very little about the Church of the Latter Day saints and the Mormon religion. What I do know has been gleaned from movies like "Latter Days" and drama like "Angels in America" so when I received this book from Alyson Books, I opened it with the hope of learning something and learn I did. "Confessions of A Mormon Boy" is a true look at the way Mormons treat gays, especially their own. Based upon Steven Fales' one man show, it gives insight of what gay Mormons experience and the intolerance they are dealt.
   This book gives you a chance to experience what Fales fell as he fell from grace, experienced excommunication from his church and succumbed to a life of drugs and random sex. He created quite a to-do with his one show when he debuted it in Salt Lake City, the headquarter city of the church that had excommunicated him only a year previously because he is gay. In the show he nonjudgementally he told of events that led up to his censure and eviction form the church. He tells of leaving his wife and two childe and tried to become an actor in New York but instead became a male escort in order to make ends meet. He began to take drugs to ward ff the depression he felt from the road that his life has taken.
   As years passed the show gradually changed with them and in "Confessions of a Mormon Boy" we have two scripts-the Utah version, the more Mormon oriented and the newer one that he is currently performing off-Broadway. We also get photographs and a copy of the excommunication from his church as well as Fales' personal observations on how the play his helped him heal.
   Fales shows us the inaccuracies in the film "Latter Days" and surprisingly, even though his church would not accept him, he found friendship and empathy among some of its members and, in fact, some of the leaders of the church backed his play finically He gives hope to other gay Mormons by including resources they can use to deal with their homosexuality.
   This is an extremely personal book and Fales s critical of himself and his religion I found this book to be both easy and hard to read. It is easy because it is short and entertaining and when I sat down to read it I did not stop until I was finished. It is hard because there is a lot of pain in this book
   As Fales relates his fall from grace, my heart went out to both him and the Church of Latter Day Saints. I felt his pain and I identified with it. I did not feel anything but remorse for his church that was quick to rid itself of a human life. I do not know if I can call this book an enjoyable read but I can certainly say it is an important and educating read. The transformation of Fales from a husband and father to a drug using prostitute ht really hard and I wonder why there is no compromise. However with the Mormons we are not allowed to argue doctrine. It is hard to believe that we are discounted so easily.



4. Steven Fales created quite a stir with his one-man stage show, "Confessions of a Mormon Boy", which debuted originally in Salt Lake City, not far from the headquarters of the LDS Church, which had excommunicated him just over a year earlier for his homosexuality. In a refreshingly nonjudgemental way, his show relates episodes in his life that led up to that day, which also resulted in leaving his wife and two children behind, as well as his subsequent life as a wannabe actor in New York City, who resorted to becoming a popular male escort to survive financially and drugs to deaden his depression over the direction his life had taken.
   
   The stage show has evolved over the years, and this book includes the "script" for the most current, off-Broadway version, as well as the original (more Mormon-oriented) version he performed in Utah. There are also photos, copies of the communication from the LDS church that excommunicated him, and various personal observations on how doing "Mormon Boy" has been therapeutic for him.
   
   Prior to reading this, my sole impression of how the LDS church dealt with gays was based on having seen the film "Latter Days", which the author here is quick to point out was not accurate. While the Mormon church is still bigoted against homosexuals, the author still found empathy and support among its members and some of its leaders, who were also among the financial backers for his show. He also mentions Affirmation, the support group for gay Mormons, and other similar groups are listed in a directory in the book.
   
   An interesting, witty and heartfelt look at a world few of us know, from a talented writer who benefited the most from this work.