Titres dans Théâtre

Neil Simon's darkly funny memoir of his family in 1930s Brooklyn is presented here by a full cast featuring Valerie Harper, Jonathan Silverman, and Max Casella.

In this outrageous new comedy, playwright Mamet skewers everything from sexuality to the justice system to world peace. In a world where nothing is as it seems, prepare to be offended!

Guys & Dolls...The Boyfriend...How to Succeed in Business Without Really Trying...Can-Can... These are just a few of the many Broadway shows produced by the legendary Cy Feuer, who, in partnership with the late Ernest H. Martin, brought to life many of America's most enduring musicals. Cy Feuer was at the center of these creations, as well as the films based on two of Broadway's most exceptional musicals, Cabaret and A Chorus Line. He was the man in charge, the one responsible for putting everything together, and - almost more important - for holding it together.

Theatre Royal. The very name summons up something of grandeur and eloquence. And it was. Hosted by Laurence Olivier, these big-name productions also included the creme de la creme of acting talents from John Gielgud, Ralph Richardson and Orson Welles to Trevor Howard, Michael Redgrave and Olivier himself. They were based on works by the world's leading authors, among them Charles Dickens, Henry James, Oscar Wilde and Anton Chekhov. These are but a few of whose company we shall be keeping as we raise the curtain on our first instalment of theatrical history.

In this fascinating and deeply researched book, Sharon Marcus challenges everything you thought you knew about our obsession with fame. Icons are not merely famous for being famous; the media alone cannot make or break stars; fans are not simply passive dupes. Instead, journalists, the public, and celebrities themselves all compete, passionately and expertly, to shape the stories we tell about celebrities and fans. The result: a high-stakes drama as endless as it is unpredictable.

As the sole production assistant for Stephen Sondheim’s Follies, Ted Chapin had a front row seat for the creation of one of the most important American musicals of all time. He kept a detailed journal of his experiences, and his rich storehouse of memories forms the core of Everything Was Possible, which itself has become a modern classic of musical theater history. Combining the zeal of an enthusiast with a journalist’s narrative chops, Chapin takes the listener on a roller-coaster ride through the creation of an original Broadway musical.

When the Atlanta-born Paul Ford first fell in love with the American musical theater at the age of five, he never imagined that his future skills as a "piano thumper" would lead him to a career on Broadway playing rehearsals or in the "pit" for classic Stephen Sondheim musicals and numerous concerts, birthday tributes, and television spectaculars. Now retired, the candid (and admittedly opinionated) author looks back on the performances and personalities that defined the American musical theater in the waning years of the 20th century.

Othello follows the story of the Moor through love, jealousy and deceit. Iago is furious about being overlooked for promotion and plots to take revenge against his general; Othello, the Moor of Venice. Iago manipulates Othello into believing his wife, Desdemona, is unfaithful, stirring Othello's jealousy. Othello allows jealousy to consume him, murders Desdemona and then kills himself.

The Risk Theatre Model of Tragedy presents a profoundly original theory of drama that speaks to modern audiences living in an increasingly volatile world driven by artificial intelligence, gene editing, globalization, and mutual-assured destruction ideologies. Tragedy, according to risk theatre, puts us face to face with the unexpected implications of our actions by simulating the profound impact of highly improbable events.

Abandoned as an infant by his actress mother in her theater dressing room, August March was raised by an ancient laundress. Highly intelligent, a tad feral, August is a true child of the theater - able to recite Shakespeare before he knew the alphabet. But like all productions, August’s wondrous time inside the theater comes to a close, and he finds himself in the wilds of postwar New York City, where he quickly rises from pickpocket street urchin to star student at the stuffiest boarding school in the nation.

Three one-act plays from David Mamet, one of the master stage writers of our time.

Growing up in Liverpool as the entertainer of the family, impersonating neighbours to the delight of her friends and playing pranks on her unwitting mother (from which the poor carpet never recovered), the young Alison Steadman could never have imagined what the future had in store. But when she snuck off to London to audition for drama school in secret, Alison set in motion a series of events that would see her become one of the greatest character-actors of the age, and a national treasure to boot.

Every time you deliver a speech, give a presentation, or simply tell a good story, you are taking centre stage. Here, one of the world’s leading voice coaches introduces the simple exercises that great actors use to hold people’s attention – and reveals how anyone speaking in public can use them. Drawing on 25 years working at London’s National Theatre, Jeannette Nelson explains how to warm up your voice and body before a big speech, how focusing on your breathing can improve your clarity and pace, and much more.

Amber Iman’s powerful concert melds her onstage work in shows such as Shuffle Along and Soul Doctor with her work offstage as a founding member of the Broadway Advocacy Coalition and Black Women on Broadway. Using personal stories and songs, she takes the audience on a journey through love, rejection, race, artistry, and heartbreak in a performance that challenges, encourages, and uplifts, reminding us that we have the capacity to move forward from any setback.

Millions of words of scholarship have been expended on the world's most famous author and his work. And yet a critical part of the puzzle, Shakespeare's library, is a mystery. For four centuries people have searched for it: in mansions, palaces, and libraries; in riverbeds, sheep pens, and partridge coops; and in the corridors of the mind. Yet no trace of the Bard's manuscripts, books, or letters has ever been found.

She was beautiful, talented, irascible, ruthless, vulnerable, and a true Hollywood legend. From abused child to dance-hall entertainer to silent-film actress, she went on to become one of Hollywood's screen goddesses with films such as Possessed opposite Clark Gable, with whom she began a torrid off-screen affair, Grand Hotel, and Mildred Pierce, her Academy Award-winning film.

This is a book for the thinking actor, and the finest actors I've known are just that. The best actors bring it all together: body, heart, spirit, and mind. A theory of acting, if true, shows us to ourselves. Jeff Zinn knows this. He knows it as an actor, director, teacher, and thinker. His theory of everything is simple and revelatory.

Sheridan Morley writes: "When my father died at eighty-four on the morning of Derby Day 1992 (one of the few he ever missed), he and I had been together for just over fifty years. In the immediate aftermath of his sudden death, I knew two things; how much I would always miss the sheer joy of his company, and how much I wanted to write about him, if only to explain to myself and my children the life and career of the last great Boulevardier of his or any other time."

Theatre Work: Reimagining the Labor of Theatrical Production investigates both the history and current realities of life and work in professional theatrical production in the United States and explores labor practices that are equitable, accessible, and sustainable. In this book, Brídín Clements Cotton and Natalie Robin investigate the question of artmaking, specifically theatrical production, as work.

Unlike conventional how-to manuals that merely scratch the surface, The Story of The Story delves into the ethos of storytelling. It emphasizes that, just as reading a jumbo jet manual does not prepare one to fly, reading about storytelling mechanics does not prepare one to write. Something more is needed.