English Theater

Book 3 left us on a cliffhanger, when in the middle of a superpower-infused battle with the CBGs, Mother took control of Dorian Gray’s mind and had her teleport Gideon and an unconscious Stella to the middle of nowhere in an empty Nevada desert. Well, nearly empty. It turns out that "the middle of nowhere" happens to be the home of a man Gideon has never met, but who is inextricably tied to his fate.

The Pestilence has come, and kingdoms fall. Nemon Fargus has done what he could to prepare for this, but the End of an Age is not something that can be fought—only endured. The wizard can only hope that what he's done will be enough.

Newly divorced Lily Kimura returns to her hometown to start fresh with her daughter and her recently retired parents. She’s committed to rebuilding her life, starting with a new job at the town theater. The Starlight Cove Playhouse has been closed for years, ever since a tragic fire took the life of the lead actress. Now, thanks to an anonymous donor, the town is finally ready for a revival. So is Lily, who wholeheartedly dives into her new duties as theater manager, including an unexpected connection with the visiting movie star playing the lead.

Growing up on Long Island, lonely and quiet and queer, she was enchanted by Hollywood starlets like Kim Novak. She found her turn in New York’s early Off-Off-Broadway theater scene, in Warhol’s films Flesh and Women in Revolt, and at the famed nightclub Max's Kansas City. She inspired songs by Lou Reed and the Rolling Stones. She became friends with Jane Fonda and Lily Tomlin, borrowed a dress from Lauren Hutton, posed for Richard Avedon, and performed alongside Tennessee Williams in his own play.

Despite his victory against the Guild, Kers soon learns that there is now an even greater target upon his cloudy back. Typical. Then there’s the small matter of Marwan, the Dark Lord who wants to take over the world, and the Jade Citadel sortie that is on the verge of collapsing. Not to mention the fact that he now has to ‘get along’ with his neighboring core and deal with a mysterious orca-like monster that has started flying nearby…

At the height of the McCarthy era, an experimental theater troupe set up shop in a bar near the University of Chicago. Via word-of-mouth, astonished crowds packed the ad-hoc venue to see its unscripted, interactive, consciousness-raising style. From this unlikely seed grew the Second City, the massively influential comedy theater troupe, and its offshoots - the Groundlings, Upright Citizens Brigade, SNL, and a slew of others. Sam Wasson charts the meteoric rise of improv in this richly reported, scene-driven narrative.

Brimming with insights from a veritable Who's Who of Broadway Babies and complemented by more than two hundred color and black-and-white images, Sondheim: His Life, His Shows, His Legacy offers a witty, multidimensional look at the musical genius behind Company, Follies, A Little Night Music, Into the Woods, Sunday in the Park with George, Sweeney Todd, and the landmark West Side Story and Gypsy.

When Admiral William Halsey selected Destroyer Squadron 21 to lead his victorious ships into Tokyo Bay to accept the Japanese surrender, it was the most battle-hardened US naval squadron of the war. But it was not the squadron of ships that had accumulated such an inspiring résumé; it was the people serving aboard them. Through diaries, personal interviews with survivors, and letters written to and by the crews during the war, preeminent historian of the Pacific theater John Wukovits brings to life the human story of the squadron and its men.

The idea of American musical theater often conjures up images of bright lights and big city, but its lifeblood is found in amateur productions at high schools, community theaters, after-school programs, summer camps, and dinner theaters. In Beyond Broadway, author Stacy Wolf looks at the widespread presence and persistence of musical theater in US culture and examines it as a social practice - a live, visceral experience of creating, watching, and listening.

Out-of-work Latin teacher and borderline alcoholic Austin DeSantis is determined to spend his final days in the arms of a prostitute—that is if the aliens don’t exterminate humanity first. But when the aliens land at the Vatican, begin speaking Latin, and reveal themselves to be Catholic, the world turns upside down. Pressed into service as a translator and thrust into the center of humanity's first contact with a cryptic alien race, Austin must uncover their true intentions before religious turmoil rips the planet apart.

Mace and Shari continue their search for survivors among the undead even as they struggle to stay alive themselves. While working to raise their sync levels with the game, the new couple pursue the quests they’ve picked up, explore a dungeon or two, and work to stabilize the game world they hope to live in. With the undead world above closing in, will they have the time to figure out how to save themselves and other survivors?

This Is Not My Memoir tells the life story of André Gregory, iconic theatre director, writer, and actor. For the first time, Gregory shares memories from a life lived for art, including stories from the making of My Dinner with André. Taking on the dizzying, wondrous nature of a fever dream, This Is Not My Memoir includes fantastic and fantastical stories that take the listener from wartime Paris to golden-age Hollywood, from avant-garde theaters to monasteries in India.

Desperate to save as many people as he can from a horrible fate in the cruel game of the gods, Lee and his small group of friends abandon the relative safety of Satterfield for the great city of Kirshtein. Tensions within the city have reached a breaking point after the arrival of an enemy Herald, and Lee is soon caught up in the struggle for power.

This book describes a technique developed and refined by the authors, all of them young actors, in their work with Pulitzer Prize-winning playwright David Mamet, actor W. H. Macy, and director Gregory Mosher. A Practical Handbook for the Actor is written for any actor who has ever experienced the frustrations of acting classes that lacked clarity and objectivity, and that failed to provide a dependable set of tools.

Jackson Ghasnavi is a lot of things—a techie, a smoothie afficionado, a totally not obsessive list-maker—but one thing he’s not is a romantic. And why would he be? He’s already had a front row seat to his parents’ divorce and picked up the pieces of his sister Jasmine’s broken heart one too many times.

With the Summoning Gate under threadbare control and the Stranger defeated, Tira’s sights turn now to the war with Amedia. Their raiding party is en route with the sole intention of crushing what they think is the last surviving Kholvenic Dungeon—her.

So much darkness. At least it made hiding easier. Daniel and his group of close friends barely made it away from the mob and their underhanded allies among the Cabal. Now, they were hunted prey, forced to ditch their beloved floating castle in order to find a place to hide. But where could you possibly hide when the Dawnlight Forest would soon be teeming with people looking for you? That’s right. Underground. Quite literally.

In the height of the Second World War, US forces launched a long and grueling campaign to take the island of Guadalcanal, mounting the first major land attack against Japanese forces. What followed was a six-month string of devastating battles as these two forces wrestled over this key military position. In the wake of near-daily aerial attacks and several determined assaults from the Japanese navy, the Guadalcanal campaign culminated in a victory for America and marked the first of many offensive attacks aimed at neutralizing the Japanese in the Pacific Theater.

Portals appeared on Earth, forcing everyone to make a choice: Enter or die. However, if they managed to survive through all twelve planets in the system, they would be allowed to return home. Humanity fought bitterly and, in the end, succeeded, but the cost was high.

You know his work—Show Boat, Oklahoma!, Carousel, The King and I. But you don't really know Oscar Hammerstein II, the man who, more than anyone else, invented the American musical. Among the most commercially successful artists of his time, he was a fighter for social justice who constantly prodded his audiences to be better than they were.