5 comments about In Character: Actors Acting.

1. I first saw this book at my boyfriend's agents' office and I could not put it down. It's entirely visual and includes some of my favorite actors on the planet doing what they do best - creating characters. I thought the book was so fantastic that I purchased two of them for Christmas presents - one for my boyfriend and one for my boss. My boss is a studio executive and she had a similar response to the book that I did...that it was different than most "how to" type acting books. She loved it and found it as entertaining as I did. I'm certain that I'd be likely to buy more copies in the future. You don't have to make a huge committment to just sit back and enjoy watching your favorite actors create great characters with genuine emotion. I highly recommend this book!



2. Superlative photos accompanied by text. It's a great, original concept. I highly recommend this book if you enjoy photography, particularly portraiture, or acting.



3. Lots of faces, almost all familiar to most everybody, putting on an
   expression to match the director's request. Great coffee table item.



4. I gave this book to friends who are in the theatre. They both have told me they enjoyed the photographs and the accompanying text. I am not a theatre buff, but I found this to be a great coffee table book with wonderful black and white images.



5. This is a must have for artists, animators and actors. Yes, the photography is superb, so as a pure art book, it's great. But I also recommend this book as a teaching tool. I have seen many, many books on facial expression, but this one surpasses them all by miles. Not only because it uses actors instead of ordinary Joes, but Schatz puts them into character by giving them a situation to react to and a personality to react with. Other books on expression, simply state "sad" or "confused" or "angry". Schatz directs the actors by saying "your are a man who has been told he has inoperable cancer", for instance. The results speak for themselves.

5 comments about Dramatist's Toolkit,The: The Craft of the Working Playwright.

1. Its brevity aside, the most striking feature of Jeffrey Sweet's The Dramatist's Toolkit is that it's not written like most playwriting texts. Instead of ponderously essaying Aristotle (though if you want a good analysis of Poetics, I'd recommend Hatcher's Art & Craft of Playwriting), Sweet cuts to the chase of negotiations and subtext. His is the only book on playwriting that I've ever seen to really get to the heart of creating scenes (and the better part of the book focuses on just this).

   Because of this emphasis, this is not going to be the book you should refer to for structure; again, Hatcher is strong there, as is Gordon Farrell's Power of the Playwright's Vision (the only text I've seen to give numerous structural breakdowns). However, Sweet's advice - taken well, and with the usual pinch of salt - is very liberating to the writer who's been struggling against formulaic playwriting texts.

   Sweet's book is worth its cover price based solely on its discussions of negotiations, which really are eye-openers as to how subtext really works. His section on exposition, with a discussion on high and low contexts, is likewise strong. The book is great as a reference while doing your actual writing, just to remind you of things you can really make work.

   Now, Sweet's a bit brief (but powerful) in this book, but makes up for it in the sequel, Solving Your Script. The latter is a reinforcement of the ideas from The Dramatist's Toolkit, with enlightening, well annotated examples. Together, they make up a powerful combination addressing what is so rarely touched on in playwriting books: how to actually write powerful, subtle scenes. Combine them with a couple of good structural books like Hatcher or Farrell, and you've got a much better basis than most of the formulaic texts.




2. This book is a fair introduction for a newcomer. But when I say newcomer, I mean a newcomer to writing, not to playwriting. For example, what writer experienced in any genre really needs to be told not to let a couple of long-married characters converse endlessly about facts that should be second nature to both of them? Of course, as Sweet points out, knowing something and doing it are different things. But how to *do* within the context of a play is exactly what "The Dramatist's Toolkit" doesn't reveal. Sweet correctly notes that a play is a very different artistic form than a novel. But having made this observation, he doesn't go much of anywhere with with it. Most of what he says about the craft of writing a play could also be applied to novel or short story writing. This includes his point about using physical objects to illustrate themes.

   Fortunately, Sweet elaborates on the doing of playwriting in his fine book "Solving Your Script," so I'd recommend skipping "The Dramatist's Toolkit" and going directly to Sweet's second book.

   It speaks loudly about "Solving Your Script" that I would recommend it, because I had serious trouble with the unblinkingly self-important tone of "The Dramatist's Toolkt." In his first chapter, for example, Sweet seems to assert that playwriting should be an actors-only club, because no one else could really understand the stage well enough to write for it. Short of revealing something about Sweet's background or loyalties, this assertion is useless. One buys a book on playwriting to receive the author's insights, not to be told to go home if one lacks those insights at the outset. Besides, Sweet's preference for actors as playwrights is just plain unsupportable. While he lists several great novelists that made lousy playwrights, he doesn't name a single great actor who made a good playwright. There have been some, but they are outnumbered by the great actors who stuck to acting, the art form they knew best. Remarkably, it is without a trace of irony that Sweet later complains that too many modern plays revolve around acting and show business. His proposed solution to this problem is laughably underwhelming: it is that actors should pick up a newspaper now and then so that they'll write better plays.

   Sweet is undoubtedly a good playwright, but "The Dramatist Toolkit" provides scant evidence of his skills as a playwriting teacher. Sweet's insight about using physical objects to illustrate themes did seem powerful to me. A few more insights of this caliber might have made this into what I would consider a five star book.




3. My advice is to skip this book and go directly to Jeffrey Hatcher's or Louis Catron's, if you haven't already. Sweet's book is pretty obvious: conflict, contradictory characters, small casts because no one can afford to produce your work,etc., but what is irritating is his unctious style wherein he provides his views as though they were the most perspicacious and insightful renderings of the dramatic writer's craft, when all they are are basically common sense. Also, there's much here that seems very similar to the book "Backwards & Forwards" (1982) by David Ball, who refers to the "playwright's toolbox." Additionally, the author's championing of improv as a means to develop plays is a bit over the top. Just because it worked well at Second City to develop skits, it doesn't mean it will work in creating a finely crafted play. I don't know one distinguished playwright who uses improv to develop ideas; this method, in my view, usually leads to rather banal dramatic development and worse dialogue, for example, ok, you're a couple and are having a fight over having your mother-in-law over for dinner. Not much to work on as far as I'm concerned. Maybe this author uses improv to develop his plays, but the ones I've read that he's written do not seem particularly original, although well-meaning. I'm sure the guy means well, and if he can make a living in theatre purveying this stuff, hats off to him. For whatever reason, writers do not seem particularly interested in the art and craft of playwriting. That may be the reason regional theatre is mainly a middle-class entertainment instead of a forum to challenge social ideas, and it certainly doesn't bear much relationship to the origins of the theatre: to enact a ritual that helps a society cohere. Film and TV have taken that role, it seems. Although the advice here has some merit, I'm sure a book on blacksmithing could as well. The trouble is no one is particularly interested in the subject matter anymore.



4. ...books on writing plays...this one, as well as "Backwards and Forwards," have changed me as a playwright. I still have a long way to go, but Mr. Sweet's book is an exceptional one in the field.



5. This book is wonderful. It distills so much that I wanted to know about theatre plays. But, the title should have been longer. It should have added "... and Working Actor". In addition to laying the clear foundation for writing / creating / improvising plays, Sweet also sets the stage for the actor. Basic principles are outlined with copious examples. And, it is easy to read. That's good because I started my second reading and am noticing that "basics" are set in a complex, inter-related text that reveals even more on this second reading. There's no other book like it. I highly recommend this book to anyone working in the theatre! (And, I am usually a harsh critic of books like this.)

5 comments about Zen and the Art of Stand-Up Comedy.

1. This is indeed an excellent read and FULL of great insights about nearly every aspect of Standup comedy (Writing, Performance, Delivery, The Audience, Set development, etc).
   
   The author gives you great insight into both the "Art" and "Science" of standup. You can tell that he has a wealth of experience and shares it in a fun, easy to read kind of way.
   
   I think if an aspiring Standup combines this book with Judy Carter's "The Comedy Bible" they will greatly shorten their learning curve into many aspects of Standup Comedy (of course this will have combined with actually getting up on stage a bunch of times).



2. This book's humor is a little...erm...Canadian, but the author is an experienced touring headliner and touches on a lot of topics that beginning through intermediate comics could use- solid advice on how to keep writing, keep building, edit material, professionalism, etc. Highly recommend!



3. I found this book to be very thorough in covering most aspects of Stand-up performance, with some very original insights. It was however a very dense read. This was mainly due to so much content being covered in a relatively short space. I think Mr. Sankey needed to maybe give a few more examples/elaborations of the points he was making... not to clarify them, but rather to give the reader a chance to absorb them before proceeding to the next point. Do I recommed this book? DEFINITELY!!! It is a very realistic and ENCOURAGING read, with tons of info. I would have liked to see a bit more depth possibley by way of example AND because of its scope IT NEEDS AN INDEX!!!



4. I have always admired comics, but I'm usually not funny. If you are curious about what makes things funny and how to get laughs, this book breaks it down. It is geared towards people breaking into the world of stand-up comedy, and even if you don't intend on making a career out of it, you can still learn a lot about being funny. There were some wack sections, such as what one should wear or how to appear in public. If you want to be a stand-up comedian, this book is for you. If you are inclined to introversion and writing, I suggest picking up a copy of The Comic Toolbox by Vorhaus.



5. I've bought several books on stand up comedy and,this is the best book.I enjoyed reading and learning from the author.
   He tells you what you need to know,why you need to know it and gets to the point real quick.He doesnt bore you.The author shares his experiences and explains things in a very sensible way and very clearly.And,in simple english too.This guy is your friend who just wants to help you be good at stand up comedy and reduce your chances of doing badly.
   
   If you want a book that will help you in your new career or you're thinking about it then buy this book first.This book is the one book you will keep with you.
   
   I have nothing negative to say about this book at all.Its great value and has so much to offer.Thanks,Jay!

5 comments about Glued to the Set.

1. This book is an excellent example of scholarship that is accessible and fun, and yet theoretically relevant. Anyone interested in how television or, to a broader extent, technology has shaped or been shaped by American culture and social events should read this book. You'll get some great insight, plus half of the fun is just seeing what Stark has to say about your favorite TV programs.



2. Mr. Stark has insights on television that you won't find elsewhere. He is fair and thoughtful. Although he appears to be a liberal (albeit with at least some sympathy toward cultural conservatism), you won't often find his analysis colored by party lines. He has positive things to say about Lawrence Welk, Mr. Ed and Ronald Reagan and harsh words about Masterpiece Theater, 60 Minutes and Edward R. Murrow. Moreover, he shows you why you should agree with him even if your initial reaction was quite the opposite. Many of the reviewers remarked that he would be a good person to have a conversation with. I heartily agree. I only wish that he would do a sequel. Reading this 1997 book in 2005 makes you realize just how much has changed since then.



3. Mr. Stark has managed to capture what the whole spirit of essay-writing is about: to spark debate and seamlessly incorporate the various (and often needlessly divorced) disciplines, be it sociology, psychology, design, media, education, etc.

   Many other reviewers on this democratic yet altogether newfangled 'Amazon' service have expressed displeasure at Stark's omissions and/or the marketing of the book. For those who expected a simple list of the Best Shows of All Time, you should not bother with books to begin with; yet if you persist in reading, I suggest you start with Ziauddin Sardir's essay about list and rank obsession in 'The A to Z of Postmodern Life'.

   Mr. Stark's cause, I believe (and teach my students) is to provoke the very debate and discussion that has prompted both 1 and 5 star rankings. He is perhaps one of the most effective essayists of our time, for he manages to incorporate opinion, research, and a broader historical view by referencing the very (and only) things that give our American culture its ballast. Most importantly, he manages to do this without falling into the academic sophism that describes much of the current film/video literature.




4. This book is not meant to be about the 60 greatest shows ever to appear on television. It is not, in reality, a book about television at all, but rather about sociology. It analyzes the impact of television on American life, and, conversely, the impact of American life on television.

   Bravo to Mr. Stark for writing a book which gives us much more than so many other books do in discussing television. Mr. Stark actually makes us think about its impact.




5. Anybody who thinks they're writing a book about the sixty best television shows ever made yet somehow doesn't include The Simpsons is obviously so stupid and ignorant that no further comment need be made. Time for this windy old hack to be sent to the glue factory.

5 comments about A Director Prepares: Seven Essays on Art in Theatre.

1. Full of holes and alot of overbearing personal philosophy. I found myself crossing out lines of this text, as so much of this is conjecture and hyperbole. The chapter on Violence is worth the cost of the book, however, I would recommend going to the library and saving your money. Some directors swear by this text, thusly it is a potent force in the contemporary theatre. However, many of these ideas have been chewed up and misused by so many inexperienced Bogart groupies that it has little more validity than, say, a Richard Foreman text in its extremely self-referential nature.



2. A vitally important book about creating theatre in the 21st century. Those who complain that this book is not a handbook for how to direct are unfortunately missing the point - one would be hard pressed to find a more important, inspirational book about why we take on the struggle that being in theatre brings.
   
   Don't let the price scare you, all you fellow actors on a budget - this book is for you, too.



3. This book totally and completely changed my perspective on what I called 'Directing.' it is full of wonderful stories, theories, and insights into making art. It is an important book for designers, actors, and anyone involved in the process of artistic expression. I read this book, and immediately pursued studying with Anne Bogart and The SITI Company, which I was lucky enough to do over this past summer. It was an incredible experience.
   Every so often an artist comes along and gives us an opportunity to see our work in a new way, and be invigorated by it. Bogart's book is a master example of this. Highly recommended.



4. The title is misleading since the book is really about the process of making art--specifically making theater--and will be valuable to anyone involved in the collaborative process.
   
   Some have complained that this book does not tell one "how to direct." But Bogart's book is about how to find one's voice as an artist and how to wrestle with material--topics that are rarely treated with the sanity that this book does. Reading it will help you figure out how to direct(or act or design) in your own individual way.



5. Bogart writes from her years of experience and vision in A Director Prepares. Readers merely looking for a book on "how to direct" may want to look elsewhere: this manifesto takes on serious issues faced by theater artists every day. While other books "on directing" explain how to get actors from point A to point B, A Director Prepares examines the shoulders that theatermakers stand on: artistically, historically, politically. And it's not just for Bogart/SITI Company disciples. Like the creation of theater, A Director Prepares requires heightened attention and a clean slate every time you dive into its pages. It's inspiring, but also a challenge to theater makers to rethink how we approach our processes and to question upon whose shoulders we stand.

5 comments about Dark City: The Lost World of Film Noir.

1. I've listened to Eddie Muller's commentaries on various DVDs, and they have been excellent overall. He also seems like an extremely nice guy. Having said that, I had mixed feelings about this book. As another reviewer said, it is indeed written in a rather breezy way. It's also quite self-referential, which gets tedious sometimes. There are some genuine nuggets sprinkled throughout that pique your interest. Still, the treatment feels superficial, and the content blends together after a while. IMHO, I think it's more suited to suited to someone who's not that familiar with film noir.



2. If you are interested in film noir and looking to purchase a single book on the subject, this is the title that I would recommend. There are dozens of other books available, but this is the one that I would deem as being essential for a beginner. The text of "Dark City: The Lost World of Film Noir" is lavishly illustrated with publicity stills and film posters. The writing is uniformly engaging and highly addictive.
   
   The author, Eddie Muller, is a man of parts. He has written novels and biographies, he has provided informative and entertaining commentary tracks as bonus materials for dvds, he has hosted and programmed film festivals and interviewed actors and actresses from Hollywood's Golden Age, he helped found a not for profit corporation that labors to restore vintage films that might otherwise be lost due to the decomposition of nitrate stock while studio attorneys quarrel over ownership issues and so much more. Muller has an interest in prize fighting and exploitation films. He was writing about the grindhouse cinemas long before Quentin Tarantino developed a feature film screenplay on the same topic. Muller is a minor expert on the architecture and geography of his hometown, San Francisco, and can identify all of the filming locations used in the noirs set there, including former landmark buildings that are now demolished.
   
   Given his varied interests, Muller's writing reflects his overall versatility. He is not a one trick pony who rewrites the same book and repeats the same anecdotes over and over again. Muller is authoritative, but humble and approachable at the same time. He does not take himself too seriously and he remains an unrepentant enthusiast. Any man who could attend a revival screening of "Born to Kill" and keep the volatile Lawrence Tierney on a short leash is someone to be admired. Muller received an affectionate head butt for his troubles from Tierney one of Hollywood's most celebrated barroom pugilists and back alley brawlers.
   His online essay on the eventful day is hilarious.
   
   As to the subject at hand, film noir, Muller's carefully crafted prose reads as if it were transcribed from a performance by an accomplished improvisational jazz musician, although Muller would be the first to point out that the widespread public association of film noir with jazz is overstated (noir films did not typically include jazz scores until relatively late into the film noir cycle). Many standard reference books on the subject are written by film school professors and academics. Regrettably, some of these scholarly tomes are decidedly dull. Muller is refreshingly readable in contrast and could go fifteen rounds with any of the film school lecturers without putting anyone to sleep. He can hold his own against the scholars and specialists, but his writing reflects a liberal arts background that will resonate with the masses.
   
   If you finish this book, you will learn about the pulp fiction and detective writers who produced the paperbacks that were adapted for the movies, the economics of the "B" film units at the studios, marketing techniques and poster art used to sell the flicks and put fannies in the theater seats, the production code censors and the back stories on the people who made the movies. Edgar G. Ulmer, for example, worked on such a tight budget for the one week wonder "Detour" that the total amount of raw film stock, as measured in feet, available to him for the feature was rationed by the studio penny pinchers at Producers Releasing Corporation.
   
   This book is great fun and it holds up well for rereading. My only complaint is that Muller concentrated on the output of the major studios almost exclusively and, largely, overlooked Poverty Row productions, but that is a small criticism. After reading this book, you may subscribe to Netflix to secure more film titles that were once staples on the late, late show.
   
   Muller does not pull any punches. You may not agree with all of his opinions, but you can respect his positions. The book cover is based upon a scene in the climax of the movie "Dead Reckoning." Muller pans the film for its shortcomings, which include a confusing plot, and relates the problematic history of its script going through multiple rewrites by several writers before the film was shot. I have always enjoyed the film, but Muller recognizes its deficiencies that rendered it good rather than great.
   
   Naturally enough, the book incorporates some of the best dialogue from the movies. Highly recommended.



3. Hands down the best book on film noir. Enough facts for the academics and enough fun for the rest of us. Fantastic layout and though some have trouble with the hard-boiled writing style, I loved it and it comes from a master - check out Muller's novels too!



4. more than you ever knew about film noir, eddie muller plunges the reader into the dark and seamy side of hollywood. a fabulous history of film noir with rare and splendid posters, photographs, and insider stories that can only be found here and as only eddie can tell them.
   i highly recommend this book. a must have for every film buff and serious collector.



5. I will grant that film noir is mostly about style, that's film noir the thing in itself, not the explanation. Muller tries to write like the hard-boiled wordsmiths that helped give noir its flavor; but he adds so much useless patter as to give the impression that, like them, he is being paid by the word. In the end this book is about as satisfying as getting nicotine from a patch. The two stars are for the pictures.

5 comments about Rat Pack Confidential: Frank, Dean, Sammy, Peter, Joey and the Last Great Show Biz Party.

1. This book is an easy read. A lot of the information in it isn't new, but there is some confirmation on various subjects.
   
   Frank Sinatra's loneliness powered his voice. He had a strong desire to have an entourage around him. This started with a group he called "the Varsity".
   
   Sinatra's interest in politics is explained by his mother's involvement in local politics.
   
   Frank's ties to the mafia are detailed and the relationship of organized crime with the Kennedy family are confirmed and detailed better than in some contemporary books. The Fischetti brothers, Sam Giancana, and other organized crime figures appear in the book. The real ownership of various casinos and how the entertainment industry was involved was interesting.
   Frank's gifts to Lucky Luciano and Sam Giancana was a new item to me.
   
   The Chapter entitled "One of these days it'll come out" has a ring of familiarity in it regarding JFK's assassination.
   
   The author does a good job chronicling the lives of the "Rat Pack" and their associates. Frank Sinatra is the main subject, but the others are covered well also.
   Entertaining book!



2. I WOULD GIVE THIS PIECE OF JUNK A MINUS 5 IF IT WAS POSSIBLE. THE AUTHOR IS PEDESTRIAN AND PEDANTIC. HE MEANDERS SLOWLY THROUGH THESE MEN AND ACTUALLY MAKES DEAN AND FRANK DULL. THAT TAKES A REAL ABSENCE OF SKILL.HE USES IS OWN ERRONEOUS INFO AS FACT. THERE ARE SO MANY BOOKS FAR SUPERIOR. HE OBVIOUSLY IS A SINATRA FAN WHICH IS FINE BUT PALLEY FRANK NEVER CAME CLOSE TO CROSBYS HEIGHTS OR RECORD SALES.FRANK ON HIS OWN LABEL DIDNT OUTSELL DEAN MARTIN EVER.DEAN WAS THE NUMBER ONE SELLER AT REPRISE ALWAYS.ALSO SINATRA WAS BIG IN THE USA , CROSBY WAS GOD IN THE USA AND THE WORLD. WATCH CROSBY VS. SINATRA IN THEIR TWO FILMS TOGETHER AND CROSBY WIPES THE FLOOR WITH FRANK AND -ALL THE CRITICS WROTE ABOUT THAT OFTEN.SINATRA WAS A PUNK AND ALWAYS A PUNK WHO NEEDED SYNCOPHANTS TO YES HIM. CROSBY WAS A MAN AND WENT HIS OWN WAY. LIKE BOGIE SAID OF SINATRA- HES A BOY WHO HAS NO MANNERS AND WILL NEVER GROW UP. DONT BOTHER WITH THIS BOOK. IT ISNT GOOD ENOUGH FOR TOILET PAPER.



3. Not a lot of new knowledge in this book. Most of it has been written about before but it was interesting to see how the author linked the lives of these men together to show how their relationships evolved over time. I enjoyed reading this book.



4. Rat Pack Confidential gives a 101 level course of the group, highlighting the fun they had together makes movies and showing off at the Vegas clubs. It then chronicles the toubles they had together (Why did Sammy alientate himself from Frank?) and then their downfalls as indvidiuals (Dean's descent into alcoholism). Longer books could (and have been) written about each of them indivdiually, but this succinctly captures their spirit in both the glamour and their squalor. It accomplishes what it sets out to do.



5. I found this book to be enlightening and enjoyable, filling in some gaps in my knowledge of the Rat Pack. It did, however, suffer from something that happens fairly often in popular histories, and that is a shading of facts to fit the premise of the book. In this case, the premise is that "It's Frank Sinatra's world, we're just living in it". Author Shawn Levy makes that point over and over again at every turn, sometimes making bold statements about Frank's superior style or entertainment abilities, which really was unnecessary and took away from the book, in my opinion.
   
   All-in-all, a good and informative read for Rat Pack fans.

5 comments about Movie-Made America: A Cultural History of American Movies.

1. Sklar has combined 100 years of film and history to present a cultural portrait of the United States.



2. I have only read the first 3 or 4 chapters so far, but the editor has no linear stream of conciousness. He meanders along in his thought process with no logical structure in mind. Interesting take on the history of American movies.



3. 
   The author shows how movies not only reflect our society but influence it as well.
   
   Are you a film buff, a history buff, or both?
   
   Then this book will fascinate you from start to finish.



4. This is a great book that was required reading for Steven Ross' "Film, Power, and American, History" course at USC. Not only was it very relevant and well organized, but genuinely interesting too!



5. This is a must read in the social and cultural history of American cinema.

3 comments about Blithe Spirit, Hay Fever, Private Lives: Three Plays.

1. Noel Coward's talent for spinning gossamer plots into rapier-sharp comedy assures his reputation in theatre, and his comedies have such timeless appeal that they remain staples of both English and American theatre. This volume collects three of his most memorable scripts: the fantasy BLITHE SPIRIT, the farce HAY FEVER, and the razor-wicked PRIVATE LIVES.

   Of the three, BLITHE SPIRIT and PRIVATE LIVES are best known to the general public through various film versions and frequent revivals. BLITHE SPIRIT concerns a novelist who invites a medium to give a seance that he might learn tricks of the trade for the book he is writing--but the medium is no fake, and she unintentionally summons up the ghost of his first wife, who promptly moves in and makes his second wife's life a living hell. PRIVATE LIVES offers the story of a divorced couple who unexpectedly meet while honeymooning with their new spouses--whom they quickly abandon in order to resume their torrid passion for each other. Trouble is, although they love each other desperately, their personalities are about as compatible as two scorpions in a bottle. HAY FEVER, one of Coward's earliest successes, presents the story of visitors to an eccentric family who are very nearly driven mad before they are able to escape.

   Coward was reknowned for his sophistocated and often acid turn of phrase, and all three of these plays contain enough outrageous situations and sharp-tongued lines to make even the worst sourpuss laugh loud enough to annoy the neighbors. Although those unused to reading playscripts may find HAY FEVER a bit hard to grasp, both BLITHE SPIRIT and PRIVATE LIVES read extremely, extremely well--so much so that you're likely to find yourself acting them out as you read! Wonderful fun, and strongly, strongly recommended.




2. I recieved my summer reading list for Honors English a few weeks ago, and under the section that held a list of three play titles to choose from, I came across Blithe Spirit. Having never heard of Noel Coward, or anything of the other two plays in this book (Hay Fever, and Private Lives) I decided to give the book a chance and I am pleased that I did. I am not a huge fan of reading plays, but after I read Blithe Spirit, I felt that I just had to keep going and read the other two. After reading this book, it is now very obvious to me that Noel Coward was a man with extreme talent, and an awful witty sense of humor. While reading these plays you come across some really interesting situations, and characters, and I guarentee that you will be smiling throughout the whole thing.



3. Noel Coward's _Hay Fever_, Evelyn Waugh's _Handful of Dust_, and Kingsley Amis's _Lucky Jim_ are, for my money, the three funniest things written in English in the 20th century. I was a drama critic for nearly 12 years, saw hundreds of productions of all kinds from coast to coast in the US and a few in London, and never laughed harder or enjoyed myself more than at a regional US production of "Hay Fever" in the late 1970's. Do it again! Do it again!

5 comments about One Life to Live: Thirty Years of Memories.

1. This book has all that any fan of 'One Life To Live' would want. You can relive the storylines through all of the recaps. The book features listings of every character to ever appear on the show, along with many pictures of past and present greats from the show. It is definitely a nostalgic trip down memory lane.
   The book did a wonderful job of cramming 30 years into something that is totally enjoyable. I really can't think of anything that was missed.



2. This book is a wonderful historical memoir of one of the most daring and well-written shows on daytime.

   Not only does it chronicle the show's rich history, it includes wonderfully bright and vivid color photos of many of the most-loved actors/actresses/characters that have been on the show.

   I highly recommend this book to all fans of OLTL!




3. I HAVE BEEN A BIG FAN OF OLTL FOR 25 YEARS. THIS BOOK IS EVERYTHING I COULD WANT IN COVERING MY FAVORITE SOAP OPERA. THE INTERVIEWS, PHOTOS, RESEARCH DONE MR. WARNER IS OUTSTANDING. IT BROUGHT BACK SOME GREAT MEMORIES FROM THE PAST 25 YEARS. ALL FANS OF ONE LIFE TO LIVE AND SOAPS SHOULD OWN THIS GREAT PIECE OF WORK. A WONDERFUL BOOK DEDICATED TO A WONDERFUL SHOW THAT FILLED MANY OF MY AFTERNOONS. A MUST READ.



4. The other 2 reviews were right about ABC daytime canceling ONE LIFE TO LIVE in July 16,1999!,to make room for a new soap opera, PACIFIC CITY.Please right to ABC DAYTIME about this, they aren't going to tell the public 'til OLTL is cancelled. Don't let this happen, like what happened to NBC SOAP ANOTHER WORLD. Write to ABC DAYTIME about this, why?



5. I heard ABC WILL cancel ONE LIFE TO LIVE as of JULY 16. The press of daytime soap operas is not telling viewers and put the information about it in the Magazines. Write to ABC DAYTIME in New York please!