5 comments about Gustav Mahler: The Symphonies Paperback.

1. By the time I opened this book I had already read more than a dozen biographies of composer Gustav Mahler. What could this one add?
   
   Well, it surprised me. It lives up to its name: GUSTAV MAHLER: THE SYMPHONIES. What it does is give you a thorough explanation of each Mahler symphony. It tells you things like when it was written, why it was written, how it was written, and suggestions as to "what the music means," which is especially relevant to Mahler's music.
   
   Thus, if I could have only a single book on Mahler, this would be the one I would keep, because it will be my learned, private guide or tutor, to better help me understand--and love even more--each Mahler symphony



2. I was very, very disappointed in this book. But I should have expected such nonsense about M's symphonies--it's unfortunately ubiquitous. c.f. sees a story or progam in every symphony, every movement etc. ad nauseam. He writes out a lot of musical notes and then fails to adequately anaylze them. I am not sure why so many people want to find stories and themes and non-musical meanings in Mahler's work. Mahler may have said many things, but he is the artist and his art is music, not literature. Music by its nature is not amenable to verbal analysis apposite to poetry and drama; re 6th, first movement: march,march--heavy heavy to last movement hammer blows--oh my! oh my! Fate has overcome the protagonist. The major minor seal--nice code as a sub for thinking.-- the sheer silliness of critics to call this tragic when the music is promethean in nature and the last big sound is not fate stamping out the human, instead it is the sound of the individual determined to march on and the power of the last sound indicates the protagonist if there is one in this piece. I like Mahler a lot. There can be no argument, at least in my feeble mind, that he wrote two superaltive symphones: 6th and 7th. The rest have virtues but simply don't succeed--you can like the music but it doesn't cohere. The ninth is interesting, but only that. All the others are grossly inferior to 6 and 7. I found c.f's book to be amateurish: his analysis was weak because he wanted to find a story behind the notes. Music is very difficult to explain, Mahler's especially. But so many reviewers of Mahler seem happy to find an underlying story that then becomes the essence of the piece for them (they box and compartmentalize the music) The symphonies are a creation. They must be judged as musical creations, not as stories etc. How fatuous is all the nonsense written about Mahler because his music does lay itself open to critics who would mistakenly fill it up with their own ideas etc, the music notwithstanding. What's that cliche (a true axiom): Let the Music Speak for Itself. Judge the creation, not the creator or what he wants to say about his music (the creator is so susceptible to illusion and misreading of his creation).
   
   c.f's book is not better than good liner notes; it's too bad he didn't recommend certain recordings--this would have made his fantasy-speculative analysis of the symphonies more bearable.



3. The symphonies of Gustav Mahler can be listened to on more than one level. As complex and forward-looking as they are, they nonetheless can connect at an elemental, "visceral" level for many listeners.
   
   However, for a fuller appreciation of both the details and the profundity which are in these works, as well as for insight into Mahler's creative processes, some outside help is required, and this help is usually not forthcoming from the liner or booklet notes that accompany recordings, or from the program notes that accompany performances. This is precisely where this excellent book by Constantin Floros fits in.
   
   First, a few words on what this book is not, and does not purport to be. It is not a comparative discography of available performances; in fact, it neither lists nor recommends recordings. Second, it is not a critical biography of Mahler; the interested reader is referred to the outstanding (but much more expensive) volumes by Henry-Louis de la Grange, available elsewhere at Amazon.com. Third, it is not a psychological study of Mahler, relating, as such a study might, such connections between the man and the music; an excellent small volume by Theodor Adorno, "Mahler: A Musical Physiognomy" covers that territory very well, and is also available elsewhere at Amazon.com. Fourth, and finally, it is not a set of musical scores of the symphonies; those as well, published by Dover in inexpensive paperback editions, can be found at Amazon.com
   
   So, just what is this Floros book? It is the perfect companion for the serious Mahlerite in understanding the genesis and the thematic, harmonic and interpretational details of each of Mahler's ten symphonies, and the interrelationships and comparisons among them. It has just enough of the material covered in the references noted above, along with detailed analyses of the symphonies, for each of them to be better understood and placed in historical and musical context by the listener. Its greatest insight into these symphonies comes largely from Floros' remarkable scholarship in tracking down all of the score notes that Mahler provided in his sketches, short scores and long scores, his correspondences with his wife, friends and interpreters, and their comments and observations as well. By piecing all of this research together, relying particularly heavily on Mahler's own notes, Floros has come up with a near-definitive look into Mahler's creative and interpretational processes (a term for such a look based on scholarship that Floros describes as "hermeneutics").
   
   The book's publication date (1985 in the original German) means that it is the beneficiary of a series of events in the 1960's that opened the door to greatly improved accuracy in the study of this complex man and his equally complex music. First was the passage into the public domain of much of Mahler's own private writings, on the 100th anniversary of his birth. Second was the agreement on the part of his widow, Alma Mahler-Werfel, to release other materials, particularly related to his unfinished 10th Symphony, for public scrutiny. Third was the availability of this material to the Englishman Deryck Cooke, and others, who provided performing versions of this final 10th Symphony so that the public at large could better judge the direction in which Mahler had been heading when his work was cut short by premature death. Floros pays great respect to, and provides excellent insight into, the work of Cooke in his (Floros') plan to describe the full symphonic output of Mahler.
   
   This book is very liberally annotated, with briefly-scored examples as reference marks for understanding the interrelationships among the various musical themes, as well as end notes for each symphony and a detailed bibliography for further reading. While it helps to be able to read these brief bars of music, even those who cannot will benefit immensely from Floros' scholarship and fine, but nonetheless dense, writing in providing extramusical background and values for a better understanding of these remarkable symphonies which moves so many of us.
   
   Without question, the single most valuable reference source for a fuller understanding of the Mahler symphonies. And a compact and inexpensive companion for the Mahlerite.
   
   Bob Zeidler



4. If you want to know how a Mahler symphony is put together and why it works, this is the only book that does it. Reading it with a score at hand is useful, but not necessary. Technical but worth it.



5. The book was translated very well. It broke each symphony down by movement and gave its history, as well as a breif analysis. I definite must for Mahler fans!

4 comments about In Balanchine's Company: A Dancer's Memoir.

1. With the grace of a ballerina transposed to the page, Barbara Milberg Fisher's memoir, In Balanchine's Company, captures the ephemeral art and rigorous discipline of dance in the New York City Ballet during its early and formative years. From her childhood on a tree-lined street in Brooklyn leaping over mud puddles, when her Russian emigre parents told her to practice the piano to keep her out of mischief, and gave her ballet lessons as an antidote to her hoydenish exploits, to the afternoon when George Balanchine discovered her playing Schubert's C Minor sonata in an empty studio, she describes the education of an artist en route from Flatbush to the world's most glittering stages. In recounting her own journey, Ms. Fisher sheds light on the creative process of George Balanchine and the many extraordinary dancers, musicians, costume and set designers who worked with his fledgling company.
   
   "Sometimes," she wrote, "it seemed as if the company was flowing out of his veins." But while Mr. Balanchine was the presiding genius, it was the passion and dedication of his dancers, their unquestioning sense of mission, long hours, and sweat that brought his dreams to fruition. Ms. Fisher takes us into the studios with the tinkling pianos where for hours each day the young dancers did barre exercises and floor work under the watchful eyes of their beloved ballet masters, and, later, practiced and critiqued each other over and over until their lungs were bursting and the dancing looked effortless. She describes the patient way Mr. Balanchine worked with individual dancers, keenly aware of the natural ways they moved, creating ballets that used their special talents and gifts, recreating the role of Firebird to fit Maria Tallchief's style of movement, "a brilliant whirling creature," restoring the candy cane hoop dance to the Nutcracker to fit Robert Barnet's tireless vitality. She gives us insight into the making of avant garde masterpieces such as Opus 34, in which she appeared as a bandaged corpse, and Agon, which opened with Melissa Hayden's high speed footwork, and in which Balanchine experimented with silent arm gestures invented by the dancers themselves (which were cut from the final version). She shows us the theatres they performed in throughout Europe and across America, dark, drafty stages and blinding spotlights, how they rehearsed to the point of exhaustion, and, how, undeterred by blisters and sprains, they danced their hearts out on ancient splintered floors, thin wood planks laid on concrete, "raked" stages that tilted downward, in splendid costumes, or in worn toe shoes stuffed with paper, dazzling audiences wherever they went.
   
   Ms. Fisher weaves her personal story with that of Balanchine's company as she rose from the corps de ballet to soloist in works such as Illuminations and Afternoon of a Faun, traveled, made lasting friends, read voraciously and indiscriminately, and from time to time questioned Mr. Balanchine, on one occasion asking why the father in Prodigal doesn't help the boy in the end. She recalls her whirlwind courtship, marriage, touring with Jerome Robbins' company as a principal dancer after leaving the New York City Ballet, and performing at the White House. She retired at age thirty-one following the birth of her second child, and went on to become a Professor of English at City College, where her deep appreciation for poetry was an inspiration to her students. Written with lively and precise detail that is a pleasure to read, her memoir is a story with legs.



2. I highly recommend this book, which is beautifully written. When you finish "In Balanchine's Company," you'll be searching Amazon to see what other books Ms. Fisher has written. I look forward to reading more!



3. My ballet experience is limited to one class I took as a 5 year old and a handful of ballets that I have gone to see over the years. And yet I was captivated by the glimpse of the world of a professional ballerina, particularly since it seems that Barbara Milberg Fisher was a participant in an important era in the development of American ballet.
   
   I have to admit that I do know Barbara personally as the mother of a college friend, but that had nothing to do with how much I enjoyed the book, except perhaps that it gave me new respect for her. Barbara's life as a young talented dancer seems so removed from the woman I knew as an English professor and the hard-working single mother of my friend. To be sure, her wit and quirky sense of humor are certainly recognizable in the book. And the "voice" is definitely hers. But it seemed incredible that the relatively modest woman I knew could have led such an exciting and impressive life as a young woman.
   
   I very much like that the book is about her experiences and yet is not at all a self-centered book. I suppose I'm guilty of believing in stereotypes (or in press accounts of the actions of famous dancers), as I tend to think of ballerinas as being vain, demanding, and self-absorbed. And yet even when the story is about something that happened to her, Barbara's focus is often on the other people rather than on herself. And she is quite honest in divulging some of her own mistakes and embarrassing moments.
   
   Her stories are humorous and even sometimes quite suspenseful (such as when she snuck into across the Berlin Wall). Her youthful exuberance, defiance, as well as dedication to ballet, are shown clearly in her vivid descriptions. I found that in reading the book, I learned about dance and dance history, world history, and even some lessons about dealing with people, all while being delightfully entertained.



4. Barbara Fisher is obviously a remarkable person who has a lot to tell us about the rigors of a life in dance as well as delightful stories about her interactions with Balanchine and many other key figures in the dance world, including Stravinsky. The book is a perfect gift for anyone who cares about the art of dance.

5 comments about Against All Odds: My Story.

1. My son requested this book (bonus enough he ASKED for a BOOK!) :) for Christmas, & he was ecstatic to get it! He's really enjoyed reading it & says to please tell you it is an honor to read about a real life American hero in his own words, & is (he told me to capitalize this) CHUCK NORRIS APPROVED! WE LOVE CHUCK!!!



2. This book is very inspirational, easy to read, full of Chuck Norris pictures through his career. a very interesting story. I'll recommended.



3. I bought this book for my wife for Christmas. She is a fan of Chuck. She finished the book in a matter of days and gave it to me to read. I'm glad I did. Learned tons of things I never knew about him. I would recommend this book even if you are not a big fan because it tells a good rags to riches story.



4. I gave this book to my adult son when he achieved his black belt in karate. He found it very inspiring and hard to put down! He has suggested that I read it which I will.



5. Chuck Norris is undoubtedly a stright shooter of high moral character.
   It would have been more interesting if he had gone into more detail about his life from childhood to when he started with the martial arts. Bottom line, I did enjoy the book.

5 comments about How to Get Your Cat to Do What You Want.

1. I found this book to be a bit over the top. The authors suggest extreme measures for control of undesirable cat behaviors requiring strict attention to detail. I love my rescue kitten dearly who is 5 months old now, but some ideas offered in this book seem unrealistic for me. I do believe the authors have the best interest of the cat in their strategies; however, I think some of the methods require impossible amounts of time. For those of us who are very disciplined, go for it!



2. I had a hard time getting past the author's mania for adorable little furballs. Here's an example: "Are your well-deserved vacations spoiled because you just can't cope with the anxiety of leaving behind the little furball?". Those of you who answer yes will probably enjoy reading the book from cover to cover. Everyone else will do better looking up topics of interest, or reading a different book altogether. Having said that, there is some good information here, and an important message that you will be a better cat owner if you try to understand the cat's perspective. I suggest reading the Publishers Weekly review quoted by Amazon, because that nails it.



3. Hmmmm... this book was a little too warm and fuzzy for me, and my cats still don't do what I want them to do. I like to call them my kitties of mass destruction.
   
   I know the above statement doesn't really offer any constructive criticism so let me see if I can put into words what I didn't like about this book. Warren and Fay seem to be very caring and compassionate animal lovers but there didn't seem to be a whole lot of practical advice regarding getting cats to do what you want.
   
   There were however, lots of cute stories about their animals sprinkled with a bit of advice - most of which I'd already heard. It was a nice read if you like animals (which I do) but not much help in the whole "getting them to do what you want" area.



4. I found this book uninformative and a waste of money. I'm sorry that I din't buy a used book. This book was too cute with too many cute stories. I was more interested in learning about cat behavioral problems and how to solve them. I lost patience with this book. A very silly book.



5. If Warren Eckstein had chosen to market this book as a collection of entertaining pet anecdotes and essays, I would have no problem giving it five stars.
   
   However, he's attempting to pass this book off as a step-by-step animal training guide, which it is not.
   
   I found it unstructured and impractical in terms of how to physically train a cat to do anything; perhaps the advice was hidden among the inane Kittyspeak, in which Eckstein insisted on writing? It's good that he understands that cats are intelligent and need to have their attention engaged so they don't becoming bored furniture fungus. Unfortunately he doesn't get that many readers are the same way. Both cats and humans of a bookish bent will end up languishing in their chairs and reading Nietzsche when continually addressed like four-year old children -- i.e. bored out of their skulls.
   
   This book offers little in the way of research or references to support his perspective on animal training. There is no bibliography, and in fact, he often claims that his beliefs are to the contrary of most trainers' experience or scientific findings.
   
   For example, he believes that cats only purr when happy, despite the fact that studies have shown the purr's frequency helps to mend broken bones (which is why cats also purr when stressed). He disses behavioral theory in such an off-hand way that I wonder if he knows who BF Skinner is at all, and that numerous modern trainers utilize the methods of positive reinforcement (for both animal and human subjects) with excellent results.
   
   Karen Pryor's book "Don't Shoot The Dog!" was a far more insightful, contructive and beneficial read in terms of training my cat (as well as dealing with animals and people in general). I would recommend it over this ball of fluff any day.

5 comments about Forever Mame: The Life of Rosalind Russell (Hollywood Legends Series).

1. I did not think that it would be possible to write a boring biography on Roz, but this author managed it. Factually it is OK, but he does not bring that vivaceous lady to life. It is also rather disconcerting that he refers to her all the way through the book as "Rosalind", when to her friends AND fans she will always be "Roz".



2. I thoroughly enjoyed reading this well written biography on one of Hollywood's best loved actress,the one and only Roz Russell.Being born and raised in Waterbury,Ct. myself, it was really interesting to read about my hometown and how it formed Miss Russell to become the person that she did.This is not one of your typical "kiss-and-tell" books. There are no controversial stories in this book which I found to be quite refreshing.Miss Russell was a deeply religious person but at the same time she is not being portrayed as a person without flaws either.Miss Russell lived a very full,rich life with her husband and her son but her life,unfortunately, was cut short at the age of 69 by cancer.All in all,this biography is a fascinating look at a fascinating woman.I highly recommend it!



3. This was one of the best biographies I've ever read, especially of a film personality. Mr. Dick has researched his subject thoroughly and has gleaned all facets of her personality. He gives the impression of really having uncovered her inner traits and, in particular, her ability to maintain a private person sharing a life with a rather different screen persona. One senses that members of her immediate family, as well as good friends and colleagues were interviewed in depth, resulting in a full portrait of this fine woman and superb actress. Her triumphs ("Auntie Mame" and "Gypsy")and her disappointments (the 1946 Oscar loss to Loretta Young, for example) are impartially recounted, leaving the impression of a well-rounded woman and professional, able (to paraphrase) Rudyard Kipling, to treat triumph and disaster just the same. A book to savor and enjoy re-reading.



4. While much has been made of the classic film character Auntie Mame, relatively little has been written about Rosalind Russell, who portrayed her: that makes Forever Mame: The Life of Rosalind Russell a 'must' for any serious film library collection specializing in film history. It is, surprisingly, the first full-length biography and uses personal interviews and private archives - including those of her film producer husband - to detail her life. While it includes black and white photos, the meat of the title lies in its biographical sketch of Russell's life and social circle: key to understanding her character and film career. Any serious film library needs this.
   
   Diane C. Donovan
   California Bookwatch



5. Sadly, the Publisher's Weekly review is right on the money. There is very little about the "life" of Rosalind Russell, as touted in the title. The book is little more than a poorly researched, dryly written synopsis of her movies & stage appearances.

5 comments about Blockbuster Plots: Pure & Simple.

1. Blockbuster Plots: Pure & Simple is my security blanket for writing novels, short stories, and speeches. Through Martha Alderson's guidance, I am able to create page-turners with confidence. My undying gratitude to the author/teacher.



2. I first learned about this book from my critique group. Several members had it and after borrowing one, I just had to have a copy of my own. The book's techniques for plot at both the scene level and the overall story level has helped my deepen my plot in ways I could have never imagined on my own. I am forever grateful for the book.



3. I find this book very useful, easy to understand language and examples of ideas are given. Have revised one writing project using this method and it now has more scope and depth.



4. This is my first time giving a review for a book. I was compelled to do so because my expectations for the book were high based on past ratings. Was the book and the author's tools for plotting helpful? Yes and No. Let me explain my take on it. The scene tracker, although simplistic, listed some areas that one should chart in order to be aware of gaps that one may have in certain scenes. I especially liked the concept of tracking the emotional change and how important it is to have "change" and "conflict" in each scene or it needs to be reevaluated or discarded. I give the book 2 stars just for learning that aspect/tool in scene tracker. There is more to scene tracker, however, I will not give it away. You'll have to buy the book. The scene tracker makes the purchase of the book worth it.
   
   On Plot Planner, the only thing I found helpful was connecting individual scenes together above & below the plot planner to make a line if only each consecutive scene can be connected thru cause and effect. If not, then again, those scenes need to be reevaluated or discarded. For bringing that "Aha" into light, I give the book another star.
   
   However, the book notes under the PLOT PLANNER section on how to plot THEME and EMOTIONAL Development. The author only records those aspects under scene tracker. SHE DOES NOT track it under the PLOT PLANNER. Unless I failed to understand her diagrams; theme and emotional development are not tracked on the PLOT PLANNER. She refers back to her SCENE TRACKER for those 2 aspects. So in essence, it is not the PLOT PLANNER that is tracking them but Scene tracker. I guess that would be fine with THEME, as you can make a connection with all the Theme points for each scene and come out with an overall sense of what the theme is or what scenes support the theme. But I fail to understand how the Emotional Change in each scene can demonstrate the protagonist's character arc or journey of emotional changes on the whole through the scene tracker (although it works for each individual scene). But the author's premise is that it is tied into the PLOT PLANNER and I didn't see where she connected those aspects into that tool.
   
   What is recorded under PLOT PLANNER is just a visual of individual scenes divided by the beginning, middle, and end sections of the story. All in all, still a valuable tool, but I already had some knowledge of this.
   
   However, throughout the book, the author spreads out tidbits of basic information on plot and the such which is helpful for the novice which I would have liked if she had delve into more detail. She tickled my palette for more knowledge.
   
   I guess the supposed beauty of the book lies in it's simplicity. However, she gets off tangent in several areas (saying that she has gotten ahead of herself) and if you seek clarification of what she is talking about she refers to you to her DVD or website or she just barely touches the surface on it. In fact, almost every other page, along the side bars, her DVD is mentioned. The book at times seems like a disguise for marketing her DVD. I understand that authors need to self promote, but the amount of self promotion in this book became distracting. Perhaps just putting a footer on each alternate page with her website address would have been more appropriate than on the sidebars.
   
   In addition, she left alot of white space on the sidebars which could have been utilized more efficiently to dispell more information.
   
   If anyone has seen her dvds, please post a review and let me know how you liked it. I'm tempted to buy one, hoping that she does go in deeper with her tools. I think she made a very good attempt to what she was trying to accomplish when she started the book with the SCENE TRACKER (EXCELLENT tool that can be really tailored to suit your needs and she does emphasize that). But once she got into the PLOT PLANNER, I think she needs to clarify it a bit more and make the examples at the appendix more coherent in the sections of theme and emotional development.
   
   Overall, its a good book to have for a reference. The scene tracker is excellent and having more developed examples of the plot planner with more detailed explanations would have been golden.
   
   Her website and Blog has a wealth of information that is basically a reiteration of about 1/3 of her book.
   
   I have emailed her requesting clarification on some of the above and will update my review according to her response.
   
   ***********UPDATE - October 12th***********
   
   Martha Responded to me on her Blog! She explained how the Character's Emotional Development & Theme can be tracked through the plot planner. It was so simple that I simply overlooked it. Along with her website, her book delivers! It is great to see an author who supports what they have written in such expedited fashion. If Amazon would give me the ability, I would upgrade my rating from 3 to 4 stars. Not 5 you may ask? Well, the self promotion needs to be cut a bit (lol) and it would be more helpful to have color examples of her tools to see how she tracks the different aspects of plot, and for her to expand a bit more on what she delves in the book (like how she does on her site). There's just so much good stuff in her book, but she doesn't go into it as deeply as I would have liked. But overall, I am very pleased. Any further explanation you might need, you can find on her site and blog. Her tools are excellent. I highly recommend.
   
   2 other books that I would also recommend to supplement with the Plot Planner is Dara Mark's "Inside Story: Power of the Transformational Arc". Also, a great book on Endings which also gives an overview to story structure is Drew Yanno's "The 3RD Act". It is simple and to the point and the 30 question checklist at the end of the book makes it a good investment!
   
   Happy Plotting!



5. Any artist worth their salt has to have a solid working understanding of the rules of their craft. A painter has to know about brushes, colors, shapes, lines and light. An oboe player has to know how to cut a reed in addition to learning to read music and play with others in the orchestra. For some reason, though, writers seem to start out thinking they don't need to know anything more than how to put words together, that the story will simply come out of their imaginations full-fleged and wonderful.
   Baloney.
   Whether you're just starting your novel, or working on the third draft, you need this book. Ms. Alderson has a great system to teach writers the complex struture of good plots. She's also an incredible teacher. If you get a chance to come to California or to attend a writers conference where she'll be speaking, I highly recommend her class.

4 comments about Word of Mouth: A Guide to Commercial Voice-over Excellence, 3rd Edition, Completely Revised and Updated.

1. I recommend this book to anyone looking to get into this biz. Even if you are already IN this biz, you can never know too much. Susan keeps on track and winds you through the proper elements of building a career and knowing "how to" when it comes to the basics, demo tapes, agents, auditions and more. Susan & Molly also list many contacts with agencies, workshops, etc.

   A must have guide to voice work!

   Johnny George
   VO guy

   www.johnnygeorge.com




2. Here in Los Angeles the streets are lined with people who can "read copy," but the choice voiceover assignments go to the select few who add something more to the work - believability, personality, and a strong one-on-one connection with the audience. "A camera does not lie," say the authors, "and neither does a microphone."

   That's why this book is so valuable. Although trying to teach voiceover skills through a book is inherently challenging -- sort of like trying to teach driving, or violin-playing, that way -- this book is the most successful one I am aware of. It is without doubt the best single resource on voiceover work in print today.

   The key is the authors' relentless focus on the internal process of creating great readings, which they call "The Basic Process."

   "Ad copy is more than just a bunch of words strung together to promote a product," they write in Chapter 2. "It is very much like a miniature play, with a beginning, a middle, and an end. One or more characters are involved, and it takes place at a particular time and place. You need to discover all those elements and more to act out the copy."

   To get in touch with the reality of the copy, the authors detail their Basic Process: "Focus - Visualize - Commit." Using this process "allows you to make the copy your own little drama or comedy with its own life and vitality." Without it, "all your readings will sound alike -- and that sound will be mechanical and lacking in conviction." I don't know how anyone could lay out this crucial principle more clearly. The detailed suggestions for how to follow the Basic Process are both helpful and understandable.

   The book offers a wealth of other information as well, including discussions about refining your reads, developing other voices and characters, preparing for animation work, producing a demo tape, finding an agent, handling auditions, and promoting yourself in your market. Throughout the book, voice actors, casting directors, advertising writers, and other industry experts are quoted extensively with helpful advice and entertaining war stories. Practice copy in various genres is provided. And the appendices contain numerous listings of workshops, agencies, and other resources of interest to voice talent. Every chapter offers tremendous value, all of it written with charm, elegance, and a sense of humor.

   Anyone serious about a voiceover career should get this book and devour it.




3. I always recommend this book. Susan Blu has the credentials: she's an accomplished voice talent, a casting director and a voice acting teacher. Along with tips and tricks, there's a great regional listing of agencies, schools and studios with addresses and phone numbers. She knows her stuff and you'd be doing yourself a favor by following her advice in this book.



4. This is an excellent reference and manual for voice-over artists. It's a particularly good buy when combined with the companion audio casette.

5 comments about Freak Show: Presenting Human Oddities for Amusement and Profit.

1. I was afraid that this was going to be one of those hand-wringing tsk-tsk-tsk books with pretenses to sociology. Not a bit of it! It's a well-researched and pleasant history of just what we all want to read about and see at the sideshow. It is particularly uplifting to know that many of these "freaks" are equananimous about their condition, and don't consider themselves particularly ill-treated. The belief that they are sad creatures whom fate has done poorly by, is simply our own condescension.



2. I bought this book as a gift for my husband after we viewed a documentary on circus side shows. It is a very well-written book, and the people are sensitively portrayed.



3. I read this book and I will probably read it again. The subject is handled with respect - I appreciated that. Sure - it could have more pictures and maybe more "gossipy stuff - like the tall man who ran way with the fat lady behind the lion tamer's back, etc" = but I still found every page had something for me.



4. I loved every page of this book. It gave me the most in depth information on the development of the side show and the expoitation of human beings. Also was included little known personal information on some of my favorite oddities. A very intelligent read.



5. This book is a book that tells you about the ins and outs of how the freakshows started and profited. I had no idea that it was a social book. I thought that it would be a a book about "freaks". I was wrong. It is a good book though. I enjoy reading about oddities and liked learning about how they were brought about into the public eye. It's worth taking a look at.

2 comments about Gypsy.

1. I agree with everything in the previous review, especially the Russell versus Midler versions of the movie. This is a wonderful show, and I am the lucky woman who gets to play Rose in my local theatre's production. I bought this book because Tams-Witmark sends out "sides" for each role -- a small book that includes only the character's lines with just a few words of the cue before. Having the full script is a great help, but be aware that this book is slightly different from the version used by Tams-Witmark. I'm marking the changes in my full script and using it, though, because it's much more convenient.

   Do get the memoir Gypsy by Gypsy Rose Lee. It's amazing to see how much of this show was taken directly from the pages of her autobiography. Rose and Herbie were somewhat romanticized in the show, as was Tessie the stripper and many other aspects of the story -- hey this is Broadway! There can't be *too* much misery! But the cow really did come to Rose in a dream and really did get them on the Orpheum Circuit. They really did bleach a gaggle of girls' hair blonde. Both books are great reads.




2. I am a student in Chicago's New Tuners Workshop, an organization devoted to the writing of new works of musical theatre. In our first year, we are required to read GYPSY. Our artistic director, John Sparks, considers GYPSY to be one of the finest book musicals ever written.

   The lead part of the Mama Rose is often considered the musical theatre equivalent of Lady MacBeth or Hedda Gabler. Lucky is the woman who gets to play her. Three women have played her on Broadway: Ethel Merman (in the original production), Angela Lansbury (in a 1970's revival) and Tyne Daly (in a 1990's revival). Lansbury and Daly both won Tony awards for their perfomances. Merman lost in 1960 to Mary Martin in "The Sound Music." She was robbed!

   Musical highlights of the show include the character defining "Some People," the desperate "Ev'rything's Coming up Roses" and the tour-de-force finale, "Mama's Turn." A majority of the songs are Mama Rose's, the result, apparently, of Ethel Merman's ego. Nevertheless, it works brilliantly.

   If you are looking for a version of this show on video, AVOID the Rosalind Russell version from the early sixties, in favor of the recent Bette Middler version. Not only is the Middler version more faithful to the original play, Bette does her own singing (Lisa Kirk sang for Russell) and her performance rivals Merman's.

   If you love musicals, you will love this book. Read it yesterday!

2 comments about Theatre: Art in Action.

1. i have never received this book. please check your records it has never been sent.



2. My daughter has been studying out of this text for nearly a year now. It has stunning visuals and the layout is concise and easy to understand. The immense amount of information contained is staggering.

   The thing that, as a mother, tickled me more than anything was the excitement that she responded with. It was with her urging that we purchased the book for our own library. The coverage of both visual presentation, historic significance and practical suggestion makes this an excellent text for anyone at all interested in the Theatre.