The true story of a young man in the heady, hippie days of 1970s Toronto, who gets a job as a psychiatric assistant in a famous mental hospital. He decides they need a piano, and organizes a Variety Show with patients, nurses and doctors to raise the money they need. A one-person play produced in 2017 by Artword Theatre and performed by Charly Chiarelli and Ronald Weihs.
Charley Alcott has always lived in the shadow of his older brother John. Compared to the handsome John, Charley was soft spoken, average looking and most likely to be ignored by people. But Charley was about to embark on a life-changing journey that would take him back to Charley’s Lake. Readers can follow him in this fascinating novel by Art Zahn. Brother John was taller than Charley and quite handsome. He was outgoing, suave, and shrewd—a carbon copy of their mother, Claire. He was clearly Claire’s favorite while Charley was the often-neglected second. Charley never understood his mother’s cold treatment of him, but it left him feeling insecure despite his achievements. The only place that he truly felt welcome was Lake Charles, which he has fondly nicknamed Charley’s Lake. When Charley became a lawyer, he was given a position with the prestigious law fi rm, Penicutt, Black, Rivers, and Penicutt. Due to his timidity, he was given menial tasks for three years. A rare chance in the courtroom resulted in a blunder, which sent Charley into the claims department of family owned Vesuvius Insurance Company. Claire and John had no idea what surprises were in store for them with this change. And at age twenty-eight, Charley Alcott decided he would search for his true identity. Will he fi nd the answers he is looking for in his haven, at Charley’s Lake? Readers can fi nd out as they follow his metamorphosis in this captivating read.
Meet one-of-a-kind Charlie Davis, middle-aged and divorced. Charlie no longer lives with his wife and children. Hes been hearing voices in his head for years, and has been living under the protective care of his elderly father. But suddenly his father dies, and Charlie is catapulted into a journey to fend for himself, an adventure that leads him from one fascinating predicament to the next. You will laugh and cry with Charlie as he tries his best to survive in a topsy-turvy real world. You will be introduced to all Charlies voices, including an eighteenth century pirate, a beatnik bohemian, and a lovely heartthrob from his younger days. The story entertains but also explores the remarkable power of human delusion. And while the ending is predictable, it also comes as a complete surprise.
Screenplay of 1960 French film with analysis. The film shocked and delighted critics and audiences with its sudden shifts of tone and mood, its willful play with grenre stereotypes, and its hilarious in-jokes. Along with Godard's Breathless, the two films heralded the arrival of the so-called New Wave of low-budget, shooting location and cinema as the personal statement of an author. Truffaut was one of the directors who paved the way for a postmodern aesthetic.
"I'm no ordinary woman..." Jack is in love with Kitty, Charley with Amy and both need Charley's Aunt to help. But when she doesn't turn up, they coerce their friend and fellow student into posing as the widowed millionaire, so they can confess their feelings to the girls. Things become more complicated when first, Jack's father and then Amy's uncle turn up. Both take a keen interest in Charley's Aunt, "from Brazil - where the nuts come from." One of the most popular comic farces of all time, Charley's Aunt has been loved since its original performances in 1893 and the continuous four year run that followed. The original dialogue is retained in this edition, refreshed with modern stage direction and a new introduction.
Dear Charlie was what was written on plain paper in ink stain bouts. Oh, why would a friend leave without a goodbye, his mind ached aloud. Where the waves crashed no more and over the walls of a mansion, vines grew and rabbits skittered on acres of green. Charlie became ill and all he knew was the words the walls caterwauled. Clocks ticking, Marco skipping, Hayley scampered far away, his family was there to help him through his bitter blue dingy, lonely days. Oh what a rigmarole is this sort of a tale!
Joe Conzo and David A. Perez luminously recreate the life of widely acclaimed Afro-Cuban and jazz musician Tito Puente in the biography "Mambo Diablo - My Journey with Tito Puente." The authors chronicle the life of the popular and combative New York Puerto Rican multi talented musician and entertainer who climbed from his obscure and poor environment in East Harlem (El Barrio), New York to international fame and recognition. Countless stories have been written about Tito Puente's percussive musical abilities, but rarely has the talent, intuition, mishaps and controversies been presented in a vivid and personal biography. Joe Conzo was Tito's close friend, confidant and chronicler for nearly 40 years - no one was closer to Tito or knew him better, not even his family. Joe tells the story of a man and his music the way it has never been told. David A. Perez sets down Joe's personal recollections and fits them into the context of the social milieu and revolving world. Hundreds of articles have been written about Puente, and three books Powell, Josephine. Tito Puente - When The Drums are Dreaming, Authorhouse, 2007 (Information re: Tito is based on her conversations with Tito Puente. The book is self-published and chronicles many of his activities on the West Coast. There are many inconsistencies, mis-quotes, and errors of fact.) Loza, Steven. Tito Puente and the Making of Latin Music, University of Illinois Press, 1999 (A technical work that is based on interviews with people who knew Tito. The life of Puente is glanced over; the musicians he worked with are almost overlooked. Joe Conzo is among those interviewed.)Payne, Jim. Tito Puente - The King of Latin Music, Hudson Music, 2000. (Is presented as an overview of Tito Puente's music and includes a DVD with footage of Tito discussing his 50-year career. Joe Conzo provided much of the information for this endeavor.) record some of his achievements. None of them touch on the personal life of the man, expose his weaknesses, reveal his intensity for perfection, and describe the musical brilliance in such a delicate and personal way. Joe and David reveal the inner Tito Puente through his music, his musical associations and present a man that is more than a flamboyant percussionist. Tito played piano - and he played it well. Tito played the saxophone and often sat in the sax section of his orchestra. Tito played the vibes and had an incomparable style that was exciting, romantic and jazzy. He composed about 500 tunes, probably more. And, yet in the realm of American jazz historians, writers and critics ignore, brush over and avoid the importance of Tito's music and his contributions. A prime example of this is Ken Burn's television documentary about jazz - he virtually ignores Afro-Cuban music, Afro-Cuban jazz. Joe and David reveal Tito's rightful place in the history of music and give an unbiased, on-the-mark portrait of Puente's complexities like no book before it. Author and journalist Pete Hamill sets the stage for the journey in the preface.
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