English Theater

In Tinder Box, Tony Hatch, former CBS reporter and Emmy Award winner, tells the Iroquois story as it has never been told before. In a rush to open the theater on time, corners were cut, and the Iroquois lacked the most basic fire-fighting equipment: sprinklers, fire alarm boxes, backstage telephone, exit signs, and functioning asbestos curtain. Some exits, for aesthetic reasons, were hidden behind heavy draperies, doors opened inward, and exterior fire escapes were unfinished.

The abolitionist legacies of Orville Brown and his son, Spencer, live on in this historic and daring 19th-century account. Journeying apart from each other, but with similar passion, Orville and Spencer's stories span virtually every major abolitionist event: from the battles of Bleeding Kansas and the establishment of the free-soil movement to the river wars of Memphis, Vicksburg, and Shiloh. Listeners will follow Orville west as he strikes out for Kansas Territory to help ensure its entry as a free state.

With the defeat of the Elemental, Arbor should be hailed as a hero. Instead, he is shunned, turned away from the Defiants by those seeking power and fearing his own. Having little choice, Arbor sets out with his force of gremlins toward the slave city of Fivora in hopes of finally being reunited with his sister. Meanwhile, strange things are happening in the elven capital of Srila. An Infiltrator is stalking the streets and leaving death in its wake. However, the Infiltrator isn’t the only one with its sights set on the elven homeland.

When spunky Maddy McGuire needs money to pay for horseback riding lessons, she decides to host a week-long pet camp. Despite many near-disasters, Maddy learns that raising the money itself was much of the fun and decides to try out different businesses. Throughout the series, she discovers skills that help her be a great entrepreneur, including organization, enthusiasm, math skills, and more.

When John, a nine-year-old boy from 1966, hears his own voice whisper in his head, it ultimately leads to a psychotic break and the truth behind the visions in his mind. Meanwhile, Edward, another nine-year-old boy from 1914, is trapped by the tragic circumstances of his family’s secrets. Somehow, their lives are linked by tragedy, redemption, pain, and triumph in a 109-year-long journey that will take a toll on them both, teach them about a bond stronger than time, and change the future for so many others along the way.

Edward Zanni has been kicked out of drama school because he's just too "jazz hands" for Juilliard. He moves to New York City and lands a job working as a stealth guest at corporate parties. When he gets caught up in an insider trading scandal, his crew of theater friends comes to his rescue.

Life is cruel. Arbor learns this lesson the hard way, when everything he loves is taken from him in a single night. Left alive by the men who butchered his family, Arbor has two options: give up and perish, or rise up and fight to take back the life he's lost. To do that though, he'll have to leave behind the only home he's ever known and venture out into the world beyond.

He was known as the Wildman more than 100 years ago, terrorizing lumberjacks and farmers who complained that their lives were at stake. The American Indians, depending on their tribe, had many names for the Creature: Sasahevas, Sasquatch, Bukwas (wild man of the woods), See'atco (one who runs and hides). What would Native American Indians have to gain from falsifying the existence of a Beast?

After losing her beloved grandpa Charlie to cancer, 14-year-old Alden Proctor moves from New York City to Michigan when her mother takes a job to save the Pantages Theatre, an old vaudeville house fated to be demolished. Few people recall the theatre’s prior existence. Well, few living people at least. But that’s all about to change.

Callie Miller loves drama. As a theater major, that's a given. It's hard to date in the theater department when all the guys are either taken or gay - like her best friend and longtime crush. When Callie becomes the lead in the biggest production of the year, she realizes she has no time for love. Until Sebastian "Bash" Moore reenters her life, stage left. He left everything behind three years ago to chase his dreams. But his heart remained at home, tied to memories of a tiny blonde with a flair for the dramatics - on and off the stage.

It's the first real summer since the devastating accident that killed Cedar's father and younger brother, Ben. But now Cedar and what's left of her family are returning to the town of Iron Creek for the summer. They're just settling in to their new house when a boy named Leo, dressed in costume, rides by on his bike. Intrigued, Cedar follows him to the renowned Summerlost theatre festival. Soon she not only has a new friend in Leo and a job working concessions at the festival, but she finds herself surrounded by mystery.

Ben Riller is the most successful producer on Broadway, but his newest production is in danger of closing before it opens. In his stressed-out condition, Ben is hearing the voice of his long-dead father, and they're having a running argument about life, love, and other people's money.

The Big Secret Book is an invaluable guide on the subject of creativity, no matter the preferred artistic discipline. Written by Denise Clarke, director of One Yellow Rabbit Summer Lab Intensive, the book outlines methods and methodologies of the Lab that have inspired writers, dancers, musicians, as well as performance theatre artists.

George Chakiris famously played the angry gang leader Bernardo in the film version of West Side Story (1961), for which he won an Oscar for best supporting actor. My West Side Story is an insider's look at how this theatrical and cinematic landmark evolved from a conversation in Jerome Robbins's Manhattan apartment between him, Arthur Laurents, and Leonard Bernstein to ten Oscars, three Golden Globes, two Tony Awards, and a Grammy.

Artist Dick Heldar returns to 1890's England from the war in the Sudan after sustaining eye injuries and turns to painting for a living. While his realistic paintings of scenes from the war in Sudan slowly achieve a certain popularity, he ekes a living painting romanticized portraits. Eventually, the old war injury to his eyes starts getting worse and Heldar realizes he is going blind. Before he completely loses his sight, Dick resolves to paint his masterpiece, Melancholia, using a prostitute named Bessie as a model.

The Lux Radio Theatre was a one-of-a-kind OTR show. Imagine the greatest Hollywood stars doing one-hour versions of their biggest motion pictures, complete with full orchestra, live onstage with a studio audience. The one and only Cecil B. DeMille was your host ('36-'45) for a lavish production of what was to become a veritable film checklist of many of Hollywood's best films from the mid-'30s right through the mid-'50s. The first Lux film adaptation was The Legionnaire and the Lady with Marlene Dietrich and Clark Gable, based on the film Morocco.

Mommie dearest...or is it daughter dearest? A recognizable teen star without a job, Olivia gets proactive. Dons a disguise and heads to a Hollywood benefit in Las Vegas in hopes of networking. She meets a producer who was tracked down by the father of a famous abducted girl. He wanted to share the young girl’s twisted secret diary. The producer insisted Olivia read it. "Spectacular stuff. Nothing like it." Not all mother-daughter relationships are loving. Abuse comes in all forms. And goes both ways. So does revenge, and jealousy. The aftermath is a wasteland.

Double, double, bard in trouble. Mob will catch him in a couple... Okay, the mobsters looking for Daniel still hadn't found him. That was the good news. Bad news? The net was tightening - and Daniel was running out of places to hide inside the Dawnlight Forest in the World of Chains. His skills and achievements as a bard did not help avoid attention - quite the opposite, in fact.

Among the dramatists who wrote for the professional playhouses of early modern London was a small group of writers who were neither members of the commercial theater industry writing to make a living nor aristocratic amateurs dipping their toes in theatrical waters for social or political prestige. Instead, they were largely working- and middle-class amateurs who had learned most of what they knew about drama from being members of the audience.

At the peak of the civil rights movement, Lydia Abarca was the first ballerina in a Black ballet company to grace the cover of Dance magazine. Alongside founding members Shelia Rohan and Gayle McKinney-Griffith and first-generation dancers Karlya Shelton and Marcia Sells, Abarca invited a bright light to shine on Black professional classical dancers. Grit, determination, and exquisite artistry propelled these swans of Harlem to dizzying heights as they performed around the world for audiences that included celebrities, dignitaries, and royalty.