No comments about Churchill Plays: 2: Softcops, Top Girls, Fen, and Serious Money (Methuen World Dramatists Ser).

5 comments about Desilu: The Story of Lucille Ball and Desi Arnaz.

1. I wanted to learn more about life with Lucy & Desi, but I felt this book was too detail oriented on the people that worked with them. There were some looks into their lives but I guess I wanted something else. This book was not the personal story I was looking for.



2. From the time I picked this book up I could not stop reading it. I learnt so much new information about Lucy and Desi as a couple and a business partnership that as far as I am concerned will never be beaten.
   As you delve deeper into the book you learn more about their private lives and how difficult it must have been for them both to go into work each day and do their jobs as only they knew how.
   It is had to write review without giving anythin' away but anyone who is a true Lucy and Desi fan should have this book on their bookshelves at home. I know that I am.
   Thanks to the authors and to Lucie Arnaz and Desi Arnaz Jr. we have an insight to a great working team both on and off screen.
   I definitely rate this book as worth buying. I LOVE IT!!!



3. And to think that all this time, I have admired Lucille Ball, when it was Desi who was the brains and the business master of their production companay. And Desi was liked by most who knew him, wheras Lucy was aloof. Even though the book points out that Desi Arnz was a drunk and a womanizer, I think that I would have rather met him than the domineering, silent and spoiled Lucille Ball. The book just went into soooo much detail about the business end of Desilu Productions and how each of the 4 main characters in "I Love Lucy," just did not get along, especially Bill Frawley and Vivian Vance. Just a bit too much repetition. Still have great admiration for the show and what went into a weekly 1/2 hour sitcom, that was the first of its' kind. But my concept of what the actors were really like has been shattered over and over. Would have loved to sit down and have a drink with Desi as long as Lucy wasn't around to curse at him etc. etc. I am shattered. Give me Carol Burnett any day. She is pure class.



4. For anyone considering a career in television, this is a must read.
   You will then understand the roots of modern television technique.
   This is a great book to better view the television industry up close, and through the lives of two of the best known television personalities of all time. Plus I now know how and where modern television was born.
   Highly recommended.



5. If you are truly interested in Lucille Ball and Desi Arnaz and how the created "I Love Lucy" and the Desilu dynasty, this is the first and best book on the subject. It's a must-own for Lucy fans who want to know the real story, not the pap you find in other unauthorized biographies. Sanders and Gilbert's attention to detail supports every contention and the multitude of interviews, with all the principals who were still alive to talk, makes this book come to life. I have read this book a couple of times and it's a staple in my library. One final note, make no mistake about Sanders and Gilbert -- they love Lucy and Desi and the brilliance their collaboration produced. It's all there in black and white (just like "I Love Lucy").

5 comments about Sensational Scenes for Teens : The Scene Studyguide for Teen Actors! (Hollywood 101).

1. The scenes in this book enabled me to explore a variety of situations and characters. The dialogue is concise, but emotive--the words are easy to pronounce, yet they emit a lot of meaning. In practicing the scenes with friends, I found it easy to empathise with the characters and generate a latitude of interpretations. I recommend this book for any student of theater. Though the title seems to recommend the scenes for mainly teenagers, I found them just as powerful for adults in their twenties (I qualify as the latter).



2. I personally had the great experience of working with Chambers, and this book truely helped me broaden my range. Having seen myself only as a comedy actor I was in awe when he asked me to do a dramatic scene, but with the help of this book i can now do a dramatic scene and hold a straight face. I would recommend that anyone trying to make it in the entertainment industry read this and try to work with this great coach and teacher, Chambers Stevens



3. The scenes are both fun and easy to learn. Besides discovering my kid, he has been an invaluable resource with both his books and his coaching! All his books are highly recommended.



4. Lots of variety and plenty of scenes. I started with Sensational Scenes for Kids and now I am enjoying the Teen Book. Chambers is a great acting coach and his books are wonderful.



5. Chambers has a way with making even the most serious situations into funny ones. It is a MUST tool for teen actors who are serious about their career. This in one of the many helpful books that Chambers as written for kid/teen actors.
   SETH MORRIS-age 12-actor

5 comments about Patterns for Theatrical Costumes: Garments, Trims, and Accessories from Ancient Egypt to 1915.

1. This is a good basic costume pattern book. Easy to use and patterns are easily redrafted and understood. Good historical references. I recently used it for Ancient Greek costumes (easy), as well as Medieval (good ideas). I know that I will be reaching for this book over and over again whenever I need to costume a historical play.



2. A book for someone who is wanting to begin exploring theatrical costume design or production.



3. I found this book around 25 years ago. At that time it didn't have any explinations, only the designs and some general info in the front. I do pre 1660 re-enactment and still use and teach from my well worn copy. I put it in a notebook and lend out sheets to explain how pieces go together. It isn't totally accurate, but it is a starting place for new costumers. It is easier to explain changes to make it accurate from there.



4. I am a costume designer and have had this book for many years. I
   recently purchased a copy for one of my student workers who has
   gone on to pursue a degree in costume design. It is a great book
   for fashion history overview. It is full of basic period patterns
   that are simple to draft and then use your own details.
   It accessible to beginners but a wonderful resource for professionals
   as well.



5. I bought this hot off the press 22 years ago, and wouldn't be without it. This dog-eared book has been borrowed many times! I copy pages, draft patterns. Now, I'm going to get a copy for my son's drama teacher. It is a wonderful, basic reference, with enough patterns to get started. Really valuable for getting an idea of historical silhouette. I can't wait to see what changes have been made from my edition!

5 comments about The Foreigner.

1. So much can be said about this light-hearted play that it's hard to pick where to start (and what to leave out)...
   
   Larry Shue really set up a diverse and side-splitting play. First of all, it incorporates many accents and notions as cultures collide in the Deep South. One character even makes up his own dialect and tells an entire story in it (it's a lot funnier than it sounds trust me)! The plot also drives off of a cleverly set up situation of mistaken identity.
   
   Somehow Shue created a hilarious, yet somehow realistic cast of characters. He followed this up by setting up an absurd plot that flows naturally and is exciting to read. Great character + great plot = what can go wrong?
   
   I loved this play so much that I went to see it live at a somewhat small theatre. Literally everyone in the audience was laughing hysterically throughout the performance and they all stayed after for about an hour to learn more about the play and Larry Shue. The great thing is that this play is funny without being crude, which shows real comedic talent (and seems to be a rare find these days).
   
   Reading a play doesn't take that long at all! If you are a theatre geek, or someone that is just starting to read plays this one will be a great choice for you. It's diverse, funny, witty and masterfully set-up. I strongly recommend it.



2. I was lucky enough to see Larry Shue play the role of Charlie off-Broadway in May of 1985 (he died in December of that year). To my mind, he was the perfect Charlie, although years later I saw a performance of the play with Jaston Williams and Joe Sears that rocked the house and showed just how sharp Shue's wit was.



3. This is about the funniest play I ever read. Have never seen it staged either. But it is typical of modern plays in having only seven characters, all of whom have meaty roles. Needs thick Southern accents and one cultured British and one Cockney accent. Five men and two women.



4. Having taken part in a performance of "The Foreigner" over ten years ago, I was anxious to take a trip down memory lane. After reading the play today, I am reminded what a precise and humorous tale this is. Despite remaining relatively obscure, it is one of my favorites. Larry Shue's attention to detail and sharp wit make this play a laugh a minute and thought provoking.
   
   Charlie accompanies Froggy to Georgia on military business as Charlie's wife's health declines. Feeling his marriage is failing, Charlie becomes very asocial. To maintain his silence, Charlie adopts the persona of a foreigner with no English speaking skills. In the lodge he takes up residence, the lodge's keeper Betty is about to loose the property to a conspiracy of Owen and a resident of the lodge and preacher David. As a member of the Ku Klux Klan, Owen's feelings of hatred rise when he feels Charlie mocks him. This causes Owen as well as David, whose membership in the Klan is not known, to attempt to exact revenge. When their violent scare tactics fall apart, so does the conspiracy of David and Owen. Additionally, the corrupt preacher David's image is soiled as his true intentions are revealed toward his fiance and her wealth.
   
   It is a misfortune that this show is hard to find on the stage. Were it more well known, I am sure it would achieve much deserved recognition. If you are unable to see the show, reading it is the next best thing.



5. I had the sheer joy of playing Charlie several years ago and I hope some day I can do it again. It is funny and thought provoking at the same time. When I first read it I couldn't stop laughing and I wondered how we would get through it as actors without cracking up.
   Everyone should read it and try to see it if it is playing at a theatre near you.

5 comments about The Plays of Anton Chekhov.

1. It neither surprises nor pleases me to learn that this is the current actor's standard for Chekhov translations in America. I bought this as a text for an acting class, and I kept it because Chekhov was a great writer and no translator can change that. However, the plays collected in this volume aren't treated as literature. If they were, we wouldn't get twelve of them; the one-act comic sketches were, as Schmidt well knows, only written to make money. They certainly weren't intended as filler for the longer, more important and famous plays, which can be found in virtually every other Chekhov collection. Yet Schmidt gives them the same attention, and I myself sometimes find it hard to tell the difference. There are one or two of the less famous plays that I admire, but there are also plays by Chekhov that this volume leaves out.
   If I were looking for an English version of Chekhov now, it would probably be an older volume, or perhaps a genuinely modern adaptation that made no claims to be an accurate rendering of the original Russian. I'm not categorically opposed to watching a performance of any one of these translations (I derived a rare enjoyment from performing them myself), but the Americanizing of the dialogue has chafed actors and directors alike, and I hardly think it was worth the effort.
   To judge by the cover of this book, one would think its contents profoundly ugly.



2. This book arrived promptly in new condition. It is the best translation of Chekhov's plays I have ever read. Our play-reading group enjoyed reading it together.



3. Renowned Director and Chekhov afficionado David Cromer swears by this translation of Chekhov's greatest (and lesser-known as well) works. I agree, its truly the most accessible translation for the American mouth I've ever read/performed. Perfect for monologue auditions, or productions of your own. ACTORS, STUDENTS AND SCHOLARS ALIKE SHOULD ALL OWN THIS TRANSLATION!



4. Although the author does a very good job putting the text of the plays into the modern English vernacular, I feel as though the works have had their flavor removed. If you are a purist, like I am, stick to the "old" translation.



5. I haven't read Chekhov's plays in Russian so I can't say anything about the translation except that it is very readable.

   Chekhov had his own unique style in that his plays were usually mere verbal interaction with most significant action taking place offstage. Even though most of his plays, especially his four act plays, take place at rich, country houses far removed from any sort of normal life, he seems to pick out timeless themes of humanness in several characters and weave them together into an almost plotless commentary. The fact that his plays have endured as long as they have are a testament to his genius and his skill at seeing timeless ideas.

   Chekhov's long plays are always revered and remembered as classics but this collection gives the reader a chance to see what an unbelievable short play writer he was. They have their own special feel apart from his longer works and give short little insights to the comedy and often comedic tragedy of human nature and human absurdity.

   The Cherry Orchard, the Seagull, and Uncle Vanya are classic four acts by Chekhov but don't overlook Ivanov. It was one of his earlier ones and one of my favorites. Chekhov does a good job of making several unique characters and having them react around the central situation and an older man and a younger woman give you an interesting view at an interesting love story.

   For short plays I would recommend "The Bear", "The Proposal", and "A Reluctant Tragic Hero". Especially in the Proposal Chekhov's comedy is especially portrayed.

   This collection, in general, an all-around good read. Well worth reading this collection of one of the best playwrights.

No comments about Best Dance Moves in the World, The - Ever!: 100 New and Classic Moves and How to Bust Them.

3 comments about A Doll's House and Other Plays (Penguin Classics).

1. While "Penguin Classics" are generally reliable when it comes to editions, paper-type, or publications in general, with Ibsen's masterful plays, it falls pitifully short in terms of collection. This collection gives us three plays - one less than the usual four per collection that can be found. While this may overall seem like quite a bit, it is not, in fact, worth much.
   
   Yes, "A Doll's House" is still the intriguing, fascinating play it always is. As a play, "A Doll's House" is highly recommended. Just don't get it HERE. Why? Well, mostly because of what ELSE is offered. The first play here is the strange, confusing "League of Youth". It unfortunately did not reach Ibsen's level of mastery as found in the later plays. Too many characters and nothing particularly interesting just had the play stop and stall.
   
   While all of Ibsen's plays are worth purchasing (if only for study), the problem here is the edition. For the same price (or less), one can get "A Doll's House" with much better plays with four per collection. A personal recommendation is that of Oxford's World Classics, mostly due to the presence of the incredible "Ghosts". Signet Classics also has an edition, for those who want something cheap and easy, though it has "The Wild Duck" (not as good as "Ghosts", but still so much better than "League of Youth"). Both editions also have "Hedda Gabler" and "The Master Builder". When given a choice between four plays or three, four is preferred, especially when they are the better works.
   
   Turn elsewhere.



2. In this interesting play, Henrik Ibsen sets up a scenario of a married couple with three children that seem to have a good relationship with each other. This couple is Nora and Helmer (called Torvald by Nora). They always seem to have romantic conversations with each other, but soon, we learn that years ago Nora had to take a loan from Nils Krogstad, in order to pay off a lifesaving medical treatment for Helmer. He doesn't know this and thinks that the money came from Nora's father, who has passed away.

   Helmer, who has just been named a manager of a bank, is always treating Nora in such a sweet manner, such as "Is that my little lark twittering out there?" or calls by another bird's name. She always gets little money from Helmer, but never gets large sums because Helmer is worried he thinks she doesn't know how to manage her money wisely. In the beginning, Nora treats Helmer with overwhelming respect although Nora is hiding her loan that she is paying off on a regulaly with some of the money from Helmer. Nora doesn't want Helmer to think she took a loan since she thinks it could affect their relationship.

   There are three other supporting characters in this play: Dr. Rank, Nils Krogstad, and Christine Linde. Dr. Rank is a friend of the family who is seriously ill. Nils Krogstad a worker at the bank, who is about to his job to a friend of Nora's, Christine Linde, a woman who recently moved back to the area because her husband died.

   At the end of Act II, we find out Nora forged her father's signature on the loan. Krogstad had written a letter to tell Helmer about the loan. Nora is worried that Helmer will read the letter Krogstad wrote.

   This play is about a woman trying to understand her marriage, and always wanting something wonderful to happen. With Helmer, she finally realizes that she isn't being treated the way she wants, and nothing wonderful seems to happen. Nora had no trouble making the decision of leaving her family, but perhaps she would have had a hard time recovering from this rare type of circumstance in this time and age.




3. As I very clearly stated above, this is a read-worthy book, though not my favorite or one of the best books that I have ever read. If you're in the mood for some feminist action or any politics, go ahead, pick up the book. This is, however, NOT a book for anyone who's looking for comedy.

5 comments about Of Mice and Magic: A History of American Animated Cartoons; Revised and Updated (Plume Books).

1. I purchased this book for a class, it was the textbook we used. It was interesting and seemed to encompass a fair amount of history. I do wish he'd expanded more on the history of computer animation, but it's pretty extensive in and of itself.



2. The book I ordered was in perfect condition and delivery right away. I got it about half the amount of business days I was supposed to get it. Plus the book isn't mind-numbing to read as it's about the coolest subject ever.



3. When I think of the history of animation, I tend to divide things into three periods: The Golden Age, noted for early Warner Brothers cartoons and the classic Disney movies such as Snow White and Fantasia; The Age of Mediocrity, where creativity seemed to reach its nadir, as seen most notably in the bland Hanna Barbera cartoons; and the Modern Era, with the resurgence in cartoon creativity, which, starting with The Little Mermaid in the movies and the Simpsons on TV, animation reached a new level of popularity and respectability. Leonard Maltin's book, Of Mice and Magic, shows that my own view of cartoon history is roughly correct but also overly simple: there was plenty of mediocrity in the Golden Age and plenty of decent stuff in the Age of Mediocrity.
   
   Maltin starts off with a chapter about the silent era, when animation was just beginning. Over time, experience would refine the process, but the big leap would occur with sound, in particular with Walt Disney's Steamboat Willie featuring Mickey Mouse. After the silent era chapter, there are chapters that serve as "biographies" of the major animation studios, starting with the biggest of them all, Disney.
   
   The Disney characters are among the most popular in cartoon history (or film history in general). Mickey Mouse may have been the biggest name, but he didn't have much of a personality, so he started being pushed aside in favor of more developed characters, especially Donald Duck, the first major Disney character with any sort of edge. In fact, this is a constant theme in the book: that the weakest cartoons from any studio were the ones that featured characters with no distinct personalities.
   
   Success would often come with the most offbeat and edgy characters, such as Donald Duck, Bugs Bunny, Popeye and Daffy Duck. But some of the studios had a mercenary nature that would put quantity ahead of quality; probably the worst in the bunch was Terrytoons where good cartoons were the exception, not the rule. Although even Terrytoons would have some memorable characters - in particular, Mighty Mouse and Heckle & Jeckle - even many of the cartoons featuring them were not very good (which is why in the world of cartoons, the Terrytoons characters will never outshine even some of the Disney or Warner Brothers second-stringers).
   
   Space limitations prevent me from going as in depth on this subject as I would like, but suffice it to say that after reading this book, I still do feel justified in defining an Age of Mediocrity. It was not that every cartoon in that period was bad, but the good ones were few and far between and classics were very rare indeed. The Age of Mediocrity was filled with bland cartoons that were more cute than funny, often repeated the same gags over and over again, and had few remarkable characters.
   
   What about what I call the Modern Age? It would have started right after this edition of the book was published (1987), so it is understandably, but sadly omitted. Also missing is any real look at TV cartoons, so Bullwinkle, Underdog, Yogi Bear and the Super Friends, among others, are only mentioned in passing. Maltin admits up front that this book won't cover these TV cartoons, nor non-American products, hence the omission of international fare such as the Italian Fantasia-like movie, Allegro non troppo.
   
   The strengths of this book, however, far outweigh the shortcomings. While my opinions sometimes differ from Maltin's on the quality of various cartoons, these are a matter of individual taste (overall, he tends to go easier on the films than I do; for example, he has a more favorable opinion on the UPA cartoons than I do); besides, this book is more of a history of cartoons than a critique of them. In addition to good writing, we gets lots of pictures (only a few in color) and an extensive filmography for all the chronicled cartoon studios.
   
   You probably need to be a certain age (probably at least 30) to fully appreciate this book, as younger readers may not have really grown up with these cartoons and may not have even seen them as adults (and since many of these cartoons were geared only to kids, they would not even have much appeal to those over 10). But if you remember these cartoons and look back at them with fond nostalgia, this is a great book.



4. I found this book to be an excellent reference source for cartoons produced to be shown in theaters. However, entitling it "A History of American Animated Cartoons" is not exactly truth in advertising. I think most people (except for perhaps some obsessive purists) would agree that the cartoons produced for television from the 40/50's onward would also be considered American Animated Cartoons. But none of these great cartoons (i.e., Gumby, Beany and Cecil, Clutch Cargo, Hanna-Barbara's Huckleberry Hound, Yogi Bear, Pixie & Dixie, and others through the present) are included here in any detail. Also missing from the appendices of studio output are the more obscure products like Warner's Private Snafu and other animation produced for corporate clients. Mr Maltin would do cartoon lovers well by commissioning a second volume to complete the story.



5. Leonard Maltin has a real knowledge of animation and his passion and enthusiasm for cartoons is apparent. The book traces animation from its beginnings at the turn of the century up to modern day. Extensive coverage is provided to all the major cartoon studios and many of the key directors. The illustrations are excellent. Maltin provides a fair amount of detail but not too much to overwhelm the casual fan. Anyone interested in the history of animation or just wants information on which films to see is well advised to pick up this very well written book.

5 comments about The Million Dollar Mermaid: An Autobiography.

1. I bought this on sale and was very pleasantly surprised. The stories are fascinating and there are even some profound insights about the mistakes people make. I highly recommend this book.



2. For more than a decade the splashy, aquatic escapist entertainment of MGM's Esther Williams' films delighted devoted fans, and kept MGM "afloat." This wonderfully gossipy autobiography proves that Williams was just as sassy, smart and independent off-screen as on. Her memoirs of romances with Jeff Chandler, Victor Mature and Fernando Lamas keep the pages turning and the night lights on! And, wait until she pulls back the loin-cloth of Johnny Weissmuller's to reveal a whole news aspect of filmdom's "Tarzan!"



3. I was looking for something to read while traveling, and remembered hearing some positive comments about this book. It was a really great to read about Hollywood back in it's golden age, with it's "larger than life" productions and actors.



4. I found this book fascinating from cover to cover. The glimpse into the world of MGM at its grandest is wonderful, and Esther herself is never dull. A page turner for movie fans. I agree with other reviews that Esther can come off badly in her "Do you know who I am?" attitude--it reads like she got really full of herself somewhere down the road. Plus, what kind of person stays married to a man who won't allow you to have a relationship with your own children? Sorry--there's no excuse. But this is a review of the book itself, not of the person, and it's a good read.



5. I started out in admiration of how tough Esther Williams was. But I kept waiting for her to start having a decent personal life. At first, I thought how sad it was that people were unfeeling and cruel with her. (How is it that every single man she meets, btw, with a few barely mentioned exceptions, are cold, heartless and entirely self-absorbed? An LA thing?) But by the time she started having affairs of her own and marrying the domineering Lamas (she knew what she was getting herself into) I lost all respect or sympathy for her. Even so, I can't help liking her somehow and wishing things had been different. She seems like a friend that lets you down and yet you still want to like her.
   In a way, it seems like something is missing...almost like you never completely can know or understand her.
   I did find it very interesting to hear stories about life within MGM.