5 comments about Peter Spier's Circus (A Picture Yearling Book).

1. Although the illustrations are a little busy for my taste, the details guarantee that a child would find something new to "read" to you--time and time again.



2. Peter Spier is an excellent detailed artist who take familiar subjects and really brings them to life. The books are particularly good for the story but mainly fun to work with young children to locate things in the pictures.



3. Of the 100 children's circus books in our library, this is the best. We just had to have our own copy. It helps a child know what to expect and what to look for at the circus and to understand what goes on behind the scenes. After the show we remember more when we reread the book. The story is engaging and the pictures are delightfully detailed.



4. My kids love this book.

   It is beautifully illustrated, with very detailed drawings that draw children into the scenes. The story is enchanting for little ones and introduces them not only to the circus but also to how people work, different countries in the world and different people.

   Lots of animals, clowns, acrobats and a human cannonball will keep your little ones's attention glued to the book. One of the best loved children's books in our house.




5. This is my brothers absolute favorite book. The detail in the pictures is unbelivable. This is a must for every childs book shelf

2 comments about Sideways: The Shooting Script.

1. The first time I watched the film, I couldn't get through it. There was very little that was likable about the characters, and I chose not to spend 2 hours with losers. Seeing all of the critical acclaim it received, I decided to watch it again... and loved it the second time around. Reading the screenplay made me love it even more! I could stop and savor the writing, noting how each scene ends provacatively. It's a very adult piece, and one must be very open-minded and not judgmental when reading the screenplay or watching the film.
   
   LOVE IT, LOVE IT, LOVE IT!



2. I loved the movie. On impulse, I sought out the screen play because I wanted to see how the story looked on paper. The experience was illuminating for the insight it provided me in how movies are crafted. But more importantly, being able to pause at an interesting passage of dialog, to enjoy it more completely, enabled me to control the pace of the story. Lastly, the screenplay is very good writing, and a joy to read.

No comments about The Oedipus Trilogy.

5 comments about A Raisin in the Sun (Modern Library).

1. It is a nice book. The characters personalities made the book good. If the characters were changed the book wouldn't be as good. The story shows the life of a black family in Chicago and their struggles through the years they lived there.



2. Produced in 1959, A RAISIN IN THE SUN was the first Broadway play written by a black woman: Lorraine Hansberry (1930-1965), a memorable author who based the central story on an incident that occurred in her own family and which eventually evolved into a landmark Supreme Court ruling in 1940 as Hansberry v. Lee.
   
   The play presents us with three generations of the Younger family: the widowed matriarch Lena; her son Walter Lee and daughter Beaneatha; and Walter's wife Ruth and their son Travis. The family resides in a semi-slum apartment building on the south side of Chicago in the 1950s, where each tries to rise above the difficulties of their enviroment and the many social limitations imposed upon African-Americans at that time. But there is hope on the horizon: Lena is about to receive insurance money from her husband's death.
   
   Unfortunately, instead of pulling the family together, the money actually drives them apart. Each member lays claim to it in some form or fashion. Lena dreams of owning her own home; daughter Bea is attending medical school and needs money to finish her degree; and most especially Walter Lee dreams of owning a liquior store. Bit by bit the pressure chips away at the family, already strained by years of frustration, and explodes at the play's climax--although not precisely in a way that one might foresee. When the explosion arrives it does not shatter the family; it unexpectedly reaffirms it.
   
   When I review a play, I like point out that plays are not really intended to be read. They are intended to be seen on stage, where performing artists and designers breathe life into the lines and bring force to the story and its themes. This is true of every play. It may be especially true of A Raisin In The Sun, which on paper feels somewhat dry and slightly preachy. But I have seen the play performed--and let me assure that you that it brings the audience to hysterical laughter, painful tears, a sense of deep outrage, and an affection for its characters that few other modern plays can match. It is indeed a brilliant work and a great classic of 20th century American theatre.
   
   GFT, Amazon Reviewer



3. I found this a pretty boring book to read. Not particularly well written, but the overall story isn't bad. I really would recommend that you don't buy this book (get it from the library if you have to), but instead watch the dvd/video of the play (Danny Glover is hilarious in the lead role).



4. I found that this play was somewhat easy to read but definitely fits into the realism genre which I'm not really into so much. The story in mainly one about race relations but also has a large amount of insight on family dynamics. If someone is particularly interested in either topic they may very well enjoy this play much more than I did. The writing itself and character building was excellent, I just wasn't much for the topic.



5. "A Raisin in the Sun" is an example of Midwestern African American literature, which delivers a realistic view of conditions of living for impoverished African Americans living in the Southside of Chicago. However, some tend to abjure this idea of Hansberry's play, they believe that her view of this lifestyle was exaggerated. The acumen of Hanberry's knowledge on the subject is lost on some, however her detailed sketch of the Younger's life shows the rest of us that this must have deeply affected her. The acerbic tone of Mama Younger when she is discussing money with her son shows Hansberry's expertise. With acrimony Walter (Mama's son) goes to his job as a driver of the rich every weekday. Hansberry's makes it clear to the reader that Walter has much antipathy towards the people he is driving around. Some may argue that in real life a chaffeur would be treated with more respect than which Walter received. However, from my experiences I've seen nothing but disrespect towards these workers. The apartment, in which the Younger's have lived for the longest time, is not a pleasant place to live. Hansberry's does an excellent job in the way she makes sure not to adumbrate the condition of the run down apartment. Some find it unrealistic that they could have been living in this ragged apartment for such a long time, and not being able to move out. This shows directly the unfair situations and poor pay that African American's received at this time in Chicago. Lorraine Hansberry's detailed play is for anyone who wished to understand the hardships of African Americans. Those who do not agree with Hansberry's interpretation of the time period are seriously misinformed. After reading this triumph Hansberry will truly have your approbation.

5 comments about Franco Corelli: Prince of Tenors.

1. Rather than an in-depth biography, this text reads like a cut-and-paste job of previously published articles padded with recipies, libretto translations, and performance annals. The singer's greatness is noted--but we already have the recordings to reveal this. The man himself remains unrevealed. There is, for example, some gossip about an affair with an unidentified female singer but no mention of the rumors of an intimate relationshio with the baritone Ettore Bastianini. Repeatedly the author tries to mitigate the disasterous effect of Corelli's wife on his life to the point that he "protests too much". Franco Corelli comes across primarily as a vain, neurotic, and shallow individual. Hopefully this was not the case.



2. I highly recommend this book for all opera lovers and especially for those who loved Corelli. Mr. Seghers lets us peek behind the curtains of the grand opera stage to see for ourselves the difficult day to day business of placating the divos and divas of Corelli's era especially the man for whom the book was written. His life is chronicled from birth to death, we learn about the family and city he loved and most of all, his relationship with the woman who lived for him.
   
   As a result of reading this book I have more appreciation for the man who gave us so much thrilling and beautiful music despite his insecurities and personal problems. I hope more readers will come forth to share their delight with this book and give Mr. Seghers the credit he deserves.



3. Before the realizing of this book, I did send an e-mail to René Seghers asking why never anybody tell about the concert of Franco Corelli in México?, and he kindly answer that he didn't have any information of Corelli in México. So I offered to send all I have of that historical concert: the program, reviews, the ticket and a couple of selections of a tape recording taken in the theatre by my father, and to prepare a telephone interview with Mrs. Gilda Morelli who was (along with Rómulo Ramírez Esteva) the responsible to prepare all for that performance. So for me and for my father was a great pleasure to collaborate with Mr. Seghers and to render homage to our favourite tenor of history.
   
   I just still waiting for my Autographed book by Mr. Seghers.
   
   Juan José Arias Jr.



4. Thanks to René Seghers we know more about Franco Corelli the artist and above all the man! This is a true work of love! Now let's hope the next promised titles, including a photobook, will be released soon!



5. Rene Seghers must possess that rare charm that allows one to magically walk through doors long sealed, or perhaps luck and timing with persistence granted him favor with Corelli's family, friends and the institutions that opened their archives to him.
   
   At last, a short time after Corelli's passing, his family agreed to share their story, pictures, and even private recordings made in his student days (not available with the book). Seghers provides Corelli's family-tree and all vital statistics; we learn that Franco was married in January 1961 just days before his New York debut, yet Loretta had been his shadow and constant companion since 1952. Among the book's numerous strengths are the copious b/w snapshots (several shirtless) and many photographs of Corelli in costume from early productions.
   
   Seghers has turned over rocks discovering treasure and kitsch where most would never venture to tread -- in the latter category, a musical appearance in the 1956 Italian feature-film: "Suprema confessione"; and perhaps most amusing, a series of pictorial novellas made for an Italian magazine as late as 1960 and 1962. Hardly a page is turned without discovering something of importance or interest.
   
   The biography's great strength derives from (but is not limited to) an enormous amount of research in the archives of the Metropolitan Opera and EMI (Corelli's recording company). From these pillars an almost complete picture of the man and artist emerge representing all his triumphs, glory, petty harmful intrigue, and painful human failings. Seghers does not shy from damaging the idol when truth requires it, and the picture painted is of someone all too human.
   
   The biography is strictly chronological, the English flows freely, the text is beautifully printed, and virtually every paragrah has notes describing the sources (usually original). We could probably do without the poorer quality color photographs in the center of the book (and cover), but the many black/white images leave one yearning for even more. There are slight problems with some performance dates and the chronological sequence, but the overwhelming quality and breadth of the research make this work exciting and magnificent.

1 comments about The Ultimate Audition Book: 221 One-minute Monologues For Women.

1. As I've sat in audition after audition, watching the same pieces being performed, watching actresses performing pieces that they were not suited for, I have wished I could hand them this book on their way out and say "Next time - try one of these."
   Of course, that would mean they'd get a next time. If you've only got one chance, it 's worth getting the book first.

5 comments about The Tudors: It's Good to Be King (The Tudors).

1. I READ THE BOOK AND ENJOYED IT SO MUCH, I ORDERED SHOWTIME SO I COULD WATCH...THE AUTHOR, ANNE GRACIE DID AN EXCELLENT IN SHOWING THE FUN AND THE UNFAIRNESS OF THE COURT..



2. Not meant to be historically accurate. Those who do not like this book (or TV show) just don't "get it". The book and TV show both, make one curious and eager to learn more about this important period in England's history. It was Henry VIII who was responsible for doing away with the Pope and the Catholic church in England. The book makes no claims of accuracy, The TV show is prime time drama with outstanding acting and costuming and scenery, etc. Enjoy both !



3. I did not realize that was basically just a script of the first season! I wish I had read farther into the description and I could have saved my money! I already watched it on Showtime! However, if you don't subsribe to Showtime, this book is for you!



4. This book is suppose to be for the fans of the show and that is what it is. A great piece of memrobillia for The TUDORS FANS!



5. "The Tudors: It's Good to Be King" by Michael Hirst has received low ratings in the past by Amazon.com reviewers who cite this book as historically inaccurate and poorly written. I disagree with both. As a (self-proclaimed) Tudor history buff as well as a fan of the show, I think its time this book was given its fair shake as far as reviews go.
   
   What has to be taken into consideration before you purchase "It's Good to Be King" is its subtitle: Final shooting scripts 1-5 of the Showtime Series. This is not a novel nor is it a textbook, therefore complaints against it's accuracy or use of prose are irrelevant. This book serves only as a companion to the successful Showtime series, "The Tudors," and it should be reviewed as such, so here it goes: This book not only contains the scripts it promises but also timelines, a summary of Henry's reign, and several pages of full-color cast and production photos - a must for any fan of the show.
   
   And there you have it, a fair review. However, there does seem to be a genuine concern regarding the issue of whether or not Michael Hirst has completely butchered history for the sake of television. Dispelling that notion will require a closer look at the actual script.
   
   Hirst has, indeed, taken some liberties in rewriting the material for TV: Henry's sisters Mary and Margaret have been combined into a single character, the time frame of historical events compared to the king's age and the ages of his children are a bit wonky, Henry Percy (Anne's fiance before Henry VIII decided he wanted her for himself) has, sadly, been omitted, etc. But these are among the sacrifices that sometimes have to be made when reworking any existing material into a different format for a new audience. This is acknowledged by the writers/publishers of "It's Good to Be King" who provide the reader with an accurate timeline, historical overview, and family tree. Also, there is an understanding and admission to the changes made; exhibited by the author/creator himself who claims in the foreward that the script is only "about 85%" true.
   
   Aside from the aforementioned concessions, this reviewer can't see anything wildly offensive about the historical content (or lack thereof) in the scripts. On the contrary, while this show was widely advertised as one big salacious sex romp ripe for Showtime, Hirst used the sensational bits sparingly and focused primarily on historically documented Tudor plots, conspiracies, and events. It's a script that capitalizes on the dynamics (and danger) of Tudor court and does so admirably. Hirst further proves himself a bona fide Tudor fan with the inclusion of several details that rarely, if ever, sneak their way into Tudor films or books. Henry's hypochondria and competitive nature are effectively used to craft a complex main character; King Francis I of France and well-favoured court composer Thomas Tallis - consistently omitted from historical fiction and never before showcased in a Tudor film - emerge as a primary characters; entire episodes are dedicated to the plague that nearly took Anne Boleyn's life and Field of the Cloth of Gold (and yes, both happened!)
   
   Hirst does falter in his attempt to craft a few B-Plots involving Tallis and Henry's sister (while its true that she was married to both the King of Portugal and Charles Brandon, the portrayal of her relationship to both is questionable.) These subplots are poorly done and come off as just plain boring when played alongside the wildly exciting based-in-history main plot. It doesn't necessarily take away from the meat of the show, only proves that Hirst's strengths lay in rewriting existing stories and had best stay clear of mixing in the original bits.
   
   I have a great love for Tudor history and tuned into the series expecting the worst. The worst is not what I got. In fact I quite like the show. As with any creative interpretation of actual events, there were a few discrepancies and bumps along the way, but its not fair to judge this book so harshly considering its aim is not to educate, but to entertain. If you want to learn more about Tudor history, then surf on over to the Alison Weir collection. Or maybe its Tudor fiction that you want? Then by all means, check out Norah Lofts. But if you loved Showtime's "The Tudors" then buy this book. It's fun and there are pretty pictures.

No comments about Stage Management (8th Edition).

4 comments about The Songwriter's Workshop: Melody (Berklee Press).

1. This book, along with its companion by the same author, Songwriter's Workshop: Harmony, comprise a solid, straightforward course in writing songs along the lines
   of "classic rock and pop" from the 60's through the 80's, although the principles and techniques can be applied to virtually any genre of songwriting.
   
   While this is not a book about writing lyrics per se (see Songwriting: Essential Guide to Lyric Form and Structure by Pat Pattison), Kachulis' exercises are designed to provide
   tools for you to set your own words, use the provided fragments and phrases, and even "rewrite the hits" - take an existing song lyric you're familiar with and compose an entirely
   new melody and/or chords for it.
   
   The lessons are divided into several units that build upon one another and address a particular technical aspect of song melody: The first unit describes rhythmic placement of lyrics and the use of rhythmic devices to emphasize words and shape their expression. The following units introduce pitch and its relationship to the underlying harmony. Melodies are first derived from a single chord than over richer chord progressions and bass lines. Modal devices and the use of arpeggios to build
   and expand ideas is explored. Along with this focus on the "micro" elements, later units demonstrate the larger sections and ultimately complete song forms.
   
   The accompanying CD is well-produced and illustrates all of the exercises.
   
   As with the companion book on Harmony, the vocabulary here is rock and guitar-oriented and you won't find many jazz/show tune techniques here nor Steely Dan-type changes (I'd recommend Jack Perricone's "Melody in Songwriting" which is a bit more along those lines and makes a great followup to this series.)
   But otherwise, there's little prior knowledge assumed (other than an interest in and listening experience to a wide range of songs) and much to be learned.



2. I returned this book almost immediately after purchase. 90% of the info that is in this book is in "the songwriter's workshop: harmony" book where it is given a better presentation along with useful info on harmony. If you want some basic rules on how to write a good melody, look up the melody section in "Music, the Brain and Ecstasy" (no its not about drugs or sex), which gives you about 10 useful, non-restrictive tips for writing a good melody. Things like "non-diatonic notes should resolve by going to neighboring tones rather than by a leap".



3. I've completed the first two chapters (of five) in this book and found that it is very useful. The examples of each technique are boring, bland, and not very creative, but I guess the author purposely made them that way so that the reader could understand the concept in the first place. There are so many techniques in the book to use only for only melody writing that no reader should be short of ideas after reading the book. It's an extremely detailed look at melody and all the aspects of creating a good melody.
   
   Overall, it's a very useful book of tricks and techniques, but I think it would be better if the author gave better and more interesting examples of concepts. I don't think that the book alone will allow one to write good melodies anyway--I think anyone reading it should seek out melodies from his/her favorite songs (with notes on the treble clef and chord symbols) and analyze how they're put together and what techniques mentioned in the book are actually in that particular melody. A book is not meant to do this part (that's up to the reader), so I don't judge the book badly for this--a book can only do so much anyway.



4. I found the examples of melody writing in this book to be boring. I didn't expect the writer to write "hit" melodies, but I think he could have done a better job than the bland melodies written for the book. I did find some information helpful like the scales listed in the back of the book and adding emphasis to certain keywords in lyrics.

5 comments about 101 Stories of the Great Ballets: The scene-by-scene stories of the most popular ballets, old and new (A Doubleday Dolphin Book).

1. This book is one of the best book I have obtained over the years. My brother uses it when he has to attend ballet with our family since he can never figure out what is goin on since there is no speaking. Balencine has a great understanding of the ballets and tells you the important parts and leaves out the "hoopla". I recamend it for anyone who attends the ballet as a person that apreciates the art or someone just forced to go.



2. I purchased this book and now regret it. So many of the ballets decribed are minor pieces that are rarely performed any more, while many major classic ballets that are still performed and/or that are important in dance history are totally neglected (e.g. Le Corsaire, Raymonda, Paquita, Esmerelda). Other descriptions focus only on one part of the ballet rather than telling you the actual story. The entry on "La Bayadère," for instance, focuses almost entirely on Act IV, which is frustrating since this is a ballet with a complicated libretto that could really benefit from a complete summary. I'd recommend going to a library and photocopying the info on the ballets that interest you rather than purchasing this as a handy reference book to have at home. It's just not worth the money.



3. Balanchine had a unique ability to understand the ballet and to be able to explain it to others, even if they did not know anything about it. This book which he wrote with Francis Mason, is very handy for balletomane's to have on their shelves. It explains about different ballet's, both classical and contemporary, and describes their story line or plot and gives detailed comments about how the ballet is presented. Good for reference or for curious readers.



4. This book should be of interest to any ballet fan, as it contains the librettos of many famous ballets. It was written by George Balanchine, the famous choreographer of New York City Ballet, along with Francis Mason, a dance critic. In the preface, Mr. Balanchine writes, "This book contains stories of 101 ballets. Fifty are old favorites, ballets in the standard repertory that are performed regularly, plus a few ballets of major historical importance. The fifty-one others are among the many new ballets that have appeared in the past six years, since 'Balanchine's New Complete Stories of the Great Ballets' appeared in 1968. The idea behind this paperback edition is to keep up with main trends in the repertory while also providing the background of the standard repertory. (p. ix)

   I learned that I needed a book such as this one, when after viewing act 1 of "Giselle," I realized that I had become completely lost in trying to understand the story line, and there was no libretto provided on the VCR tape. I suppose that one could watch a ballet just for the sake of the dancing and the music, but I like to understand the plot as well! Many of the crucial points in understanding a ballet often come down to interpreting mime gestures, or dance movements that function as a mime gesture, as there are no spoken words in a ballet. That's where this book can really help out.

   Each entry begins with an overview that contains a lot of information and historical data. Here is a typical entry from "Romeo and Juliet": "Ballet in three acts. Music by Sergei Prokofiev. Choreography by Kenneth MacMillan. Scenery and costumes by Nicholas Georgiadis. Lighting by William Bundy. First presented by the Royal Ballet at the Royal Opera House, Covent Garden, February 9, 1965, with Rudolf Nureyev and Margot Fonteyn as Romeo and Juliet. First presented in the United States by the Royal Ballet at the Metropolitan Opera House, New York, April 21, 1965." (p. 373) In some cases, there are multiple versions of same ballet. For instance, there are five different interpretations of "Romeo and Juliet," those of Leonid Lavrosvsky, Antony Tudor, Frederick Ashton, John Cranko, and Kenneth MacMillan. Following the overview, there is a detailed analysis of every scene of each act. Even if you are familiar with a particular ballet, you may come to appreciate some finer points through the expert analysis. Sometimes at the end, Balanchine will also provide his own commentary, and there are often excerpts from critical reviews.

   It's too bad that the third and last edition of this book was made in 1975, as Balanchine died in 1983. It would be nice to have something more contemporaneous, but this is the only one of its kind that I have been able to find, except for a few for children. As was stated in the quote from the preface above, half of this book is devoted to ballets that were created in the six years prior to 1975. I cannot say how well all of these ballets have held up over time, or whether they are actively being performed. But, at a minimum, the fifty ballets from the standard repertory should be helpful to today's ballet fan. This book does not include mention of any new interpretations of these standards from the last twenty-five years, but these librettos will probably get you fairly close. Despite the fact that this book is now dated, I still find it extremely helpful and valuable.




5. This is a great book. I read the story, then watch the ballet. It has helped me to understand the ballets.