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The Haunted Screen - Lee Kovacs - Bog - McFarland & Co Inc - Plusbog.dk

While ghosts often inhabit films and literature devoted to the horror genre, a group of literature-based films from the 1930s and 1940s presents more human and romantic apparitions. These films provide the underpinnings for many of the gentle supernatural films of the 1990s. Tracing the links between specters as diverse as Rex Harrison''s Captain Gregg and Patrick Swazye''s Sam Wheat, the text presents the evolution of the cinematic-literary ghost from classic Gothic to the psychological, sociological, and political ideologies of today. Included are analyses of the literary and film versions of classic ghost stories-- Wuthering Heights, The Ghost and Mrs. Muir, Portrait of Jennie, Letter from an Unknown Woman, The Uninvited, Liliom, and Our Town --as well as interpretations of modern films not based on literary works that show the influence of these predecessors-- Ghost and Truly, Madly, Deeply. The text includes stills, a bibliography, and an index.

DKK 382.00

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Round in Circles - Barry Kester - Bog - i2i Publishing - Plusbog.dk

Round In Circles: The Story of Rodgers & Hammerstein''s Carousel is intended not only for those who share the author''s love of the ''Golden Age'' Broadway musicals, but also for students of the genre who want to learn about the trials and tribulations encountered in producing a musical at that time when Rodgers and Hammerstein were transforming such shows into the unique American art form we continue to enjoy today. The book covers the history of the classic musical from its beginning as Liliom, a 1909 play by Hungarian author Ferenc Molnár, to its latest 2021 London revival. At first, Rodgers and Hammerstein dismissed the idea of turning Liliom into a musical. How they were persuaded to change their minds, and the struggles the duo experienced in adapting the dark, fantastical play is a key part of the story told by author, Barry Kester. But the book also shines the spotlight onto Rodgers and Hammerstein themselves, looking at their lives, their working methods, and their relationship, which was not always as harmonious as one might have thought. Although Carousel was created by Rodgers and Hammerstein, it would not have happened without the help of some extraordinary people, both backstage and onstage and the book pays due tribute to them all. Many of Carousel''s songs have become well-loved standards, none more so than You''ll Never Walk Alone and not just because of its association with football. A chapter is devoted to this remarkable anthem. Carousel''s story did not end with its 1945 Broadway opening. After an initial London run and a nationwide tour of the United States, there was a film version. The author relates the many problems that were encountered on that production. The book examines what many would agree to be the finest production of Carousel to date, staged at the National Theatre in 1992 directed by Nicholas Hytner and concludes with a look at some of the more recent revivals and the show''s place in the musical theatre canon today. Barry Kester lives in London and has loved musical theatre all his life. After retirement in 2010, he set out to write a detailed history of his favourite musical . Round in Circles: The Story of Rodgers & Hammerstein''s Carousel is his first book.

DKK 272.00

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Rodgers and Hammerstein's Carousel - Tim (david G. Frey Distinguished Professor Of Music Carter - Bog - Oxford University Press Inc - Plusbog.dk

Carousel (1945), with music by Richard Rodgers and the book and lyrics by Oscar Hammerstein II, was their second collaboration following the surprising success of Oklahoma! (1943). They worked again with Theresa Helburn and Lawrence Langner of the Theatre Guild (producers), Rouben Mamoulian (director), and Agnes de Mille (choreographer). But with Oklahoma! still running to sell-out houses, they needed to do something quite different. Based on a play, Liliom (1909), by the Hungarian playwright Ferenc Molnár, Carousel took Broadway musical theater in far darker directions because of its subject matter-the protagonist, Billy Bigelow, is wholly an anti-hero-and also given its extensive music that some claimed came close to opera. The action is shifted from a gritty working-class suburb of Budapest to the New England coast (Maine), but the themes remain the same as two social misfits try to survive harsh economic times. Billy Bigelow is unemployed, prone to domestic violence, and dies in the course of committing a robbery; Julie Jordan sticks by him through thick and thin; and the show seeks some manner of redemption for both of them as Billy is given a day back on earth to do some good for his wife and their daughter. Troubling though these matters are nowadays, they fit squarely in the context of a country moving through the end of World War II to an uncertain future. Not for nothing had composers such as Giacomo Puccini and Kurt Weill already tried to persuade Molnár to release his play. It also led Rodgers and Hammerstein to new heights: songs such as "If I Loved You," Billy''s "Soliloquy," and "You''ll Never Walk Alone" transformed the American musical. In this book, we discover how and why they came about, and exactly what Carousel was trying to achieve.

DKK 209.00

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Rodgers and Hammerstein's Carousel - Tim Carter - Bog - Oxford University Press Inc - Plusbog.dk

Carousel (1945), with music by Richard Rodgers and the book and lyrics by Oscar Hammerstein II, was their second collaboration following the surprising success of Oklahoma! (1943). They worked again with Theresa Helburn and Lawrence Langner of the Theatre Guild (producers), Rouben Mamoulian (director), and Agnes de Mille (choreographer). But with Oklahoma! still running to sell-out houses, they needed to do something quite different. Based on a play, Liliom (1909), by the Hungarian playwright Ferenc Molnár, Carousel took Broadway musical theater in far darker directions because of its subject matter-the protagonist, Billy Bigelow, is wholly an anti-hero-and also given its extensive music that some claimed came close to opera. The action is shifted from a gritty working-class suburb of Budapest to the New England coast (Maine), but the themes remain the same as two social misfits try to survive harsh economic times. Billy Bigelow is unemployed, prone to domestic violence, and dies in the course of committing a robbery; Julie Jordan sticks by him through thick and thin; and the show seeks some manner of redemption for both of them as Billy is given a day back on earth to do some good for his wife and their daughter. Troubling though these matters are nowadays, they fit squarely in the context of a country moving through the end of World War II to an uncertain future. Not for nothing had composers such as Giacomo Puccini and Kurt Weill already tried to persuade Molnár to release his play. It also led Rodgers and Hammerstein to new heights: songs such as "If I Loved You," Billy''s "Soliloquy," and "You''ll Never Walk Alone" transformed the American musical. In this book, we discover how and why they came about, and exactly what Carousel was trying to achieve.

DKK 889.00

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A Steady Digression to a Fixed Point - Rose Hobart - Bog - Scarecrow Press - Plusbog.dk

Rose Hobart enjoyed an extensive theatrical career in the 1920s, became a Hollywood leading lady in 1930, and had a second film career as a character player in the late 1930s and 1940s. Born into a family of musicians, she recalls childhood summers in Woodstock, NY, the beginnings of her theatrical career in Chautauqua, and an early and misunderstood friendship with the great Broadway star Eva Le Gallienne, which led to her appearing opposite Noel Coward in The Vortex and starring in the original stage production of Death Takes a Holiday. In 1930, she made her Hollywood screen debut in Frand Borzage''s production of Liliom. Rouben Mamoulian selected her to co-star opposite Fredric March in his legendary 1932 Dr. Jekyll and Mr. Hyde. Unhappy in Los Angeles, Miss Hobart returned to New York, but after various misadventures, came back to the screen as a character actress in such films as Tower of London (1939) with Basil Rathbone and Susan and God(1940) with Joan Crawford. During World War II, she toured with the USO in the Aleutians, a difficult but also amusing period. The autobiography is peppered with famous names from Broadway to Hollywood, but it is also a highly personal work, in which Miss Hobart unabashedly discusses her three marriages and her failures. She ends her story with the grim reality of being blacklisted. Rose Hobart is perhaps the only Hollywood star to be immortalized in a modern work of art, an avant-garde short by filmmaker and artist Joseph Cornell, named in her honor and based on footage from the 1931 film East of Borneo. Readers of her autobiography will be as mesmerized by Rose Hobart as was Joseph Cornell more than fifty years ago.

DKK 644.00

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Shattered Applause - Robert A Schanke - Bog - Southern Illinois University Press - Plusbog.dk

The first full-length biography of stage actress Eva Le Gallienne traces her life from her birth into the troubled but fascinating household of Richard Le Gallienne, British writer and intimate member of the Oscar Wilde circle, to her recent death. This comprehensive biography of the actress Rex Reed called ""a national treasure"" draws upon Robert A. Schanke’s interviews and correspondence not only with Le Gallienne but also with more than one hundred of her colleagues and friends, including Glenda Jackson, Burgess Meredith, Eli Wallach, Peter Falk, Ellen Burstyn, Anne Jackson, Farley Granger, Jane Alexander, Uta Hagen, and Rosemary Harris. Forty-two illustrations offer highlights of Le Gallienne’s many notable performances in such plays as Hedda Gabler, Liliom, The Cherry Orchard, Peter Pan, Camille, Mary Stuart, The Royal Family, and The Dream Watcher. Behind her public role as famous actress and as the founding and maintaining force of the first civic repertory theatre in the United States, Eva Le Gallienne led a private life troubled by her personal struggle with lesbianism. For more than fifty years she lived in shadows. Like many lesbians of her generation, she viewed herself as a man trapped in a female body. Because she was unwilling to compromise and hide her true self in a convenient marriage or to camouflage her relationships in order to boost her career, her sexuality became a nemesis that defined her great need for privacy. Le Gallienne complained that her lesbianism ruined her career. And as Robert Schanke points out, it also influenced her selection of scripts, management practices, and style of acting, ultimately affecting her work’s critical reception. By presenting for the first time this complete account of the life of one of the theatre’s great talents, Schanke provides his audience with a fascinating story that also serves as a barometer of the changing values, tastes, and attitudes of American society.

DKK 495.00

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