Deborah C. Payne's ground-breaking study traces the historical origins of a dilemma still bedevilling theatre companies: how to reconcile audience demand for novelty with profitability. As a solution, English acting companies in 1660 adopted an unprecedented theatrical duopoly. Implicit to its economic logic were scarcity, prestige, and innovation: attributes that, it was hoped, would generate wealth and exclusivity. Changes to playhouse architecture, stagecraft, dramatic repertory, and co...

Co-authored by the resident dramaturg at Shakespeare Theatre Company and a long-time scholarly consultant, this bookchronicles how a small repertory troupe at the Folger Theatre on Capitol Hill became an internationally renowned company performing in a lavish, multi-venue performing arts centre in downtown Washington, D.C.The artistic vision and business acumen of Michael Kahn, the founding Artistic Director, largely catalyzed this transformation, but so too did th...

Jane Austen distinguished herself with genius in literature, but she was immersed in all of the arts. Austen loved dancing, played the piano proficiently, meticulously transcribed piano scores, attended concerts and art exhibits, read broadly, wrote poems, sat for portraits by her sister Cassandra, and performed in theatricals. For her, art functioned as a social bond, solidifying her engagement with community and offering order. And yet Austen’s hold on readers’ imaginations owes a debt t...

To achieve the incredibleshe must attempt the impossibleAll her life, Alice has been haunted by visions of birds. But when the mysterious Crowley appears at Alice’s door, he reveals she’s been seeing nightjars – the miraculous birds which guard our souls. And a shadowy faction wants to use her rare gift to hunt the magically gifted.Forced to go on the run, Alice follows Crowley to an incredible alternate London, to hone her talents. But can she trust...

"[Narrator Tamryn Payne] draws the listener into Alice's newly discovered world, infusing her narration with near-perfect depictions of emotions that add to her realistic character portrayals... A delightful listen for those who like paranormal elements in their fantasy." — AudioFile MagazineThe Nightjar by Deborah Hewitt is a stunning contemporary fantasy debut about another London, a magical world hidden behind the bustling modern city w...

This rich and varied portrait of the drama from 1660 to 1714 provides students with essential information about playwrights, staging and genres, situating them in the social and political culture of the time. No longer seen as a privileged arena for select dramatists and elite courtiers, the Restoration theatre is revealed in all of its tumult, energy and conflict. The fourteen newly-commissioned essays examine the theatre, paying attention to major playwrights such as Dryden, Wycherly and...

"Our names – Atiqput – are very meaningful. They are our identification. They are our Spirits. We are named after what's in the sky for strength, what’s in the water ... the land, body parts. Every name is attached to every part of our body and mind. Yes, every name is alive. Every name has a meaning. Much of our names have been misspelled and many of them have lost their meanings forever. Our Project Naming has been about identifying Inuit, who became nameless over the years, just "un...

BBC Radio adaptations of Nick Payne's finest works, brought together on audio for the first time - plus bonus featuresNick Payne is a world-renowned playwright and screenwriter. He won the George Devine Award for his first major play If There Is I Haven't Found It Yet, and Constellations won the Evening Standard Award for Best Play. Both were performed on Broadway with Jake Gyllenhaal. This collection contains Constellations and ...

This collection of essays centres on Double Falsehood, Lewis Theobald’s 1727 adaptation of the “lost” play of Cardenio, possibly co-authored by John Fletcher and William Shakespeare. In a departure from most scholarship to date, the contributors fold Double Falsehood back into the milieu for which it was created rather than searching for traces of Shakespeare in the text. Robert D. Hume’s knowledge of theatre history permits a fresh take on the forgery question as well as...