Published in 1982, The Barter Theatre Story: Love Made Visible tells the colorful history of a remarkable American cultural institution. Opened by native Virginian Robert Porterfield in 1933, the Barter Theatre offered the people of Abingdon, Virginia, and the surrounding area entertainment and a much-needed escape from their Depression-era working lives. It became the State Theatre of Virginia in 1946 and it is where the likes of Gregory Peck, Ernest Borgnine, Patricia Neal, Ned Beatty, and Hume Cronyn got their starts. Mark Dawidziak, a journalist from New York who spent much of his twenties in Appalachia and grew to admire the theater, tells the improbable story of the Barter Theatre, which remains one of the last year-round professional resident repertory theaters in the country.
THE STORY: In this hilarious comedic romp, four friends have sworn to keep the promise they made on the night of their Senior Prom: to be in each other's weddings...no matter what. More than thirty years later, these Southern friends-for-life are still maki
THE STORY: Nick is a single, Italian-American guy from New Jersey. His parents retired and moved to Florida. That doesn't mean his family isn't still in Jersey. In fact, he sees both sets of his grandparents every Sunday for dinner. This is routine until
THE STORY: Marley was dead, to begin with...--and what happens to Ebenezer Scrooge's mean, sour, pruney old business partner after that? Chained and shackled, Marley is condemned to a hellish eternity. He's even given his own private tormentor: a ma
An Ideal Theater is a wide-ranging, inspiring documentary history of the American theatre movement as told by the visionaries who goaded it into being. This anthology collects over forty essays, manifestos, letters and speeches that are each introduced and placed in historical context by the noted writer and arts commentator, Todd London, who spent nearly a decade assembling this collection. This celebration of the artists who came before is an exhilarating look backward, as well as toward the future, and includes contributions from: Jane Addams • William Ball • Julian Beck • Herbert Blau • Angus Bowmer • Bernard Bragg • Maurice Browne • Robert Brustein • Alison Carey • Joseph Chaikin • Harold Clurman • Dudley Cocke • Alice Lewisohn Crowley • Gordon Davidson • R. G. Davis • Doris Derby • W. E. B. Du Bois • Zelda Fichandler • Hallie Flanagan • Eva Le Gallienne • Robert E. Gard • Susan Glaspell • André Gregory • Tyrone Guthrie • John Houseman • Jules Irving • Margo Jones • Frederick H. Koch • Lawrence Langner • W. McNeil Lowry • Charles Ludlam • Judith Malina • Theodore Mann • Gilbert Moses • Michaela O’Harra • John O’Neal • Joseph Papp • Robert Porterfield • José Quintero • Bill Rauch • Bernard Sahlins • Richard Schechner • Peter Schumann • Maurice Schwartz • Gary Sinise • Ellen Stewart • Lee Strasberg • Luis Miguel Valdez • Nina Vance • Douglas Turner Ward As well as the founding visions of theatres from across the country: The Actors Studio • The Actor's Workshop • Alley Theatre • American Conservatory Theater • American Repetory Theater • Arena Stage • Barter Theatre • Bread and Puppet Theater • The Carolina Playmakers • The Chicago Little Theater • Circle in the Square Theatre • The Civic Repertory Theatre • Cornerstone Theater Company • The Federal Theatre Project • Ford Foundation Program in Humanities and the Arts • The Free Southern Theater • The Group Theatre • The Hull-House Dramatic Association • KRIGWA Players • The Living Theatre • La MaMa Experimental Theatre Club • The Mark Taper Forum • The Mercury Theatre • Minnesota Theater Company (Guthrie Theater) • The National Theatre of the Deaf • The Negro Ensemble Company • The Negro Theatre Project, Federal Theatre Project • The Neighborhood Playhouse • New Dramatists • The New York Shakespeare Festival • The Open Theater • Oregon Shakespeare Festival • The Performance Group • The Provincetown Players • The Repertory Theater of Lincoln Center • The Ridiculous Theatrical Company • Roadside Theater • The San Francisco Mime Troupe • The Second City • Steppenwolf Theatre Company • El Teatro Campesino • Theater '47 • The Theatre Guild • The Theatre of the Living Arts • The Washington Square Players • The Wisconsin Idea Theater • Yale Repertory Theatre • The Yiddish Art Theatre Todd London is in his 18th season as artistic director of New Dramatists, the nation’s oldest center for the creative and professional development of American playwrights. In 2009 Todd became the first recipient of Theatre Communications Group’s (TCG) Visionary Leadership Award for “an individual who has gone above and beyond the call of duty to advance the theater field as a whole, nationally and/or internationally.” He’s the author of The Importance of Staying Earnest: Writings from Inside the American Theatre, 1988-2013 (NoPassport Press), Outrageous Fortune: The Life and Times of the New American Play (with Ben Pesner, Theatre Development Fund), The Artistic Home (TCG), and The World’s Room, a novel (Steerforth Press), among others. His column, “A Lover’s Guide to American Playwrights,” tributes to contemporary
Just after midnight, a snowdrift stops the Orient Express in its tracks. The luxurious train is surprisingly full for the time of the year, but by the morning it is one passenger fewer. An American tycoon lies dead in his compartment, stabbed a dozen times, his door locked from the inside. Isolated and with a killer in their midst, detective Hercule Poirot must identify the murderer – in case he or she decides to strike again.
Cassie is fed up with online dating, but just when she’s finally decided to give up, firefighter Jett Bentley takes her on an amazing first date. But when they both go home and find three children dropped in their laps—each—they independently decide to do the right and mature thing: hide the kids from each other while sorting it all out. What could go wrong? Cassie Everson is an expert at escaping bad first dates. And, after years of meeting, greeting, and running from the men who try to woo her, Cassie is almost ready to retire her hopes for a husband—and children—altogether. But fate has other plans, and Cassie’s online dating profile catches the eye of firefighter Jett Bentley. In Jett’s memory, Cassie Everson is the unreachable girl-of-legend from their high school days. Nervously, he messages her, setting off a chain of events that forces a reluctant Cassie back into the dating game. No one is more surprised than Cassie when her first date with Jett is a knockout—but when Cassie finds herself caring for three sisters in an emergency foster placement, she decides to hide them from Jett to avoid scaring him off. When Jett’s sister’s addiction issues land her three children at his home, he decides the last thing Cassie needs to know about is his family drama. Neither dares to tell the other about their unexpected and possibly permanent family members for fear of scaring away their potential soulmate, especially since they both listed "no kids” on their profiles! With six children between them and secrets mounting, can Cassie and Jett find a way forward? Melissa Ferguson’s warmhearted debut reminds us that love can come in very small packages—and that sometimes our best-laid plans aren’t nearly as rewarding and fun as the surprises that come our way. Praise for The Dating Charade: “Melissa Ferguson is a sparkling new voice in contemporary rom-com. Though her novel tackles meaningful struggles—social work, child abandonment, adoption—it’s also fresh, flirty, and laugh-out-loud funny. Ferguson is going to win fans with this one!”—Lauren Denton, bestselling author of The Hideaway and Glory Road “The Dating Charade will keep you smiling the entire read. Ferguson not only delights us with new love, with all its attendant mishaps and misunderstandings, but she takes us deeper in the hearts and minds of vulnerable children as Cassie and Jett work out their families—then their dating lives. An absolute treat!”—Katherine Reay, bestselling author of The Printed Letter Bookshop Stand-alone contemporary romance Full-length novel (76,000 words) Includes discussion questions for book clubs
