American Theatre

At the March on Washington, Josephine Baker reflected on her life and her legacy. She had spent decades as one of the most successful entertainers in the world, but, she told the crowd, 'I was a devil in other countries, and I was a little devil in America, too'. Inspired by these words, Hanif Abdurraqib has written a stirring meditation on Black performance in the modern age, in which culture, history and his own lived experience collide.

Broadway’s most esteemed visionaries tell all - how they got started in the business, how they chose projects, how they raise money, why some of their shows were huge hits and others flopped, and much more. From Flo Ziegfeld and David Merrick, from Joseph Papp, from Cameron Mackintosh, from today’s up-and-coming new generation of producers - here are priceless words of wisdom.

The mythical legends and historical allure of the old west come galloping onward with The Old West Collection: Amazing Legends and Incredible Tales of the American West. This thundering audio compendium celebrates the epic events of America's frontier, whether rediscovering the California gold rush at Sutter's Mill in '49 or recreating the outsize personalities of John Jacob Astor to Belle Starr and Billy the Kid. From racing on horseback for Oklahoma land in '89 to Dodge and Last Chance Gulch.

It is hard to imagine Christmas season without the rich and fanciful Yuletide tales of Charles Dickens. Indeed, late 19th century newspapers in both England and the United States hailed him as "The man who invented Christmas". This Magical Reality Chautauqua Show Presentation illustrates why. Dickens guides us through scenes of merriment, redemption and poignant joy.

Distinguished theater critic John Lahr brings unique perspective to the life of Arthur Miller, the playwright who almost single-handedly propelled twentieth-century American theater into a new level of cultural sophistication. Organized around the fault lines of Miller’s life—his family, the Great Depression, the rise of fascism, Elia Kazan and the House Committee on Un-American Activities, Marilyn Monroe, Vietnam, and the rise and fall of Miller’s role as a public intellectual—this book demonstrates the synergy between Arthur Miller’s psychology and his plays.

To many people, Lucia Chase (1897-1986) was the American Ballet Theatre, and her reign as the queen of American ballet lasted for more than four decades. It was Chase who brought Nureyev, Bujones, Kirkland, and eventually Baryshnikov to ABT. Under her leadership, the company worked with such legends as Agnes de Mille, Anthony Tudor, Jerome Robbins, and Twyla Tharp. Her drive, ambition, tenacity, and money kept the doors open even during the lean years. A dancer when the company made its debut in 1940, she was artistic director for an unprecedented thirty-five years, from 1945 to 1980.

"Telling Tales of Civil Warriors" has been adapted and expanded from the Audie Award-winning production of The Civil War Tales of Ambrose Bierce and has been selected by AudioFile magazine as a recipient of it's prestigious Earphone Award.

Telling Tales of Civil Warriors was recorded by Joel Block at The Production Block Studios.

The idea of American musical theater often conjures up images of bright lights and big city, but its lifeblood is found in amateur productions at high schools, community theaters, after-school programs, summer camps, and dinner theaters. In Beyond Broadway, author Stacy Wolf looks at the widespread presence and persistence of musical theater in US culture and examines it as a social practice - a live, visceral experience of creating, watching, and listening.

Here's a unique twist on the Cinderella story. This is an amusing, wry tale of a king's son, a neighboring king's daughter, a sulky dragon - and the wise Greenman.

Ben and his friends are playing in their favorite part of the classroom - the dress-up corner! They are talking about what they want to be when they grow up. Rachel wants to be a tae kwon do master, Dixie wants to be a doctor like her auntie, and John wants to be a teacher just like their teacher, Mr. Underwood. But when Ben says he wants to fly just like his daddy, his friends are sure his daddy must be a pilot.

It was in Brooklyn, New York, in 1883 that William F. Cody - known across the land as Buffalo Bill - conceived of his Wild West show, an "equestrian extravaganza" featuring cowboys and Indians. The idea took off. For four months in 1885, the Lakota chief Sitting Bull appeared in the show. Blood Brothers tells the story of these two iconic figures through their brief but important collaboration.

With Nathaniel Hawthorn's "The Maypole of Merrymount", A Magical Reality Chautauqua Show records a pivotal incident in our earliest American history, with legend and lore casting significant light on our origins. Hawthorne's craft allows us to be present for the birth pangs of our wildly adventurous American enterprise.

With "Buckshot Cheney's Last Train Ride" and "A Mysterious Visit", a Magical Reality Chatauqua Show celebrates the comic genius of Americana's premier folk humorist. Mark Twain has been making us laugh for generations and, with "Buckshot Cheney's Last Train Ride" and the preposterous income tax insights of "A Mysterious Visit," American Listener's Theatre presents us with the greatest known antidote to the waves of fear that grip the nation: some belly shaking laughter at the expense of our tormentors.

Bob Fosse is recognized as one of the most significant figures in post-World War II American musical theater. With his first Broadway musical, The Pajama Game, in 1954, the "Fosse style" was already fully developed, with its trademark hunched shoulders, turned-in stance, and stuttering, staccato jazz movements. Fosse moved decisively into the role of director with Redhead in 1959 and was a key figure in the rise of the director-choreographer in the Broadway musical.

The American theater was not ignorant of the developments brought on by World War II, and actively addressed and debated timely, controversial topics for the duration of the war, including neutrality and isolationism, racism and genocide, and heroism and battle fatigue. McLaughlin and Parry's work fills a significant gap in the history of theater and popular culture, showing that American society was more divided and less idealistic than the received histories of the WWII home front and the entertainment industry recognize.

As author Ethan Mordden looks back at Chicago's various moving parts - including the original 1926 play that started it all, a sexy silent film directed by Cecil B. DeMille, a talkie remake with Ginger Rogers, the musical itself, and at last the movie of the musical - we learn how the American theater serves as a kind of alternative news medium, a town crier warning the public about the racy, devious interior contradictions of American society. Opinionated, witty, and rich in backstage anecdotes, All That Jazz brings the American musical to life in all its artistry and excitement.

Chronicling the lives and times of a cast of characters both courageous and cold-blooded, American Mobsters takes the listener on an evocative journey through the lawless days of Prohibition, providing an earful of Tommy guns and terror; speakeasies and St. Valentine’s Day.

Una ácida crónica vital que el autor dedica a las dos pasiones que han marcado su vida: el fútbol y el teatro. Humor, vivencias, deporte y arte se dan la mano en este audiolibro inolvidable que, en última instancia, habla de todos nosotros.

The Provincetown Players created a revolution in American theatre, making room for truly modern approaches to playwriting, stage production, and performance. In Staging America, Jeffery Kennedy gives the unabridged story in a meticulously researched and comprehensive narrative that sheds new light on the history of the Provincetown Players. At the center of the study is an extensive account of the career of George Cram Cook, the Players' leader and artistic conscience, as well as one of the most significant facilitators of modernist writing in early twentieth-century American literature.

Is theater really dead? Does the theater, as its champions insist, really provide a more intimate experience than film? If so, how have changes in cinematic techniques and technologies altered the relationship between stage and film? What are the inherent limitations of representing three-dimensional spaces in a two-dimensional one, and vice versa? American Drama in the Age of Film examines the strengths and weaknesses of both the dramatic and cinematic arts to confront the standard arguments in the film-versus-theater debate.