Welcome to our book review site go-pdf.online!
You may have to Search all our reviewed books and magazines, click the sign up button below to create a free account.
The Making of Cabaret
A handy and engaging chronicle, this book is the most detailed production history to date of the original Broadway version of Cabaret, showing how the show evolved from Christopher Isherwood's Berlin stories, into John van Druten's stage play, a British film adaptation, and then the Broadway musical, conceived and directed by Harold Prince as an early concept musical. With nearly 40 illustrations, full cast credits, and a bibliography, The Making of Cabaret will appeal to musical theatre aficionados, theatre specialists, and students and performers of musical theatre.
Children of Ararat
None
In the Bowl of My Eye
In his ninth collection of poetry, Keith Garebian pays attention to inner and outer realities of place and psyche, turning conventional landscape poetry inside-out. Focusing on the Lakeshore Road area of Mississauga/Etobicoke, Garebian explores small and large things, creating a space in which inner and outer landscapes connect, thereby resulting in a striking poetic vessel of cognition, perception, and sensitivity. Meditatively alert, these poems open up perceptions of a sentient world within a specific geography, history, and sociology, while providing insights into suburbia and some of its characters, including the poet and his own personal life. The world of lake, park, and road is conjoined with a suburban world of apartment, shopping mall, immigrants, and fraught lives with passionate vividness and through language that has a deep-rooted sense of mood, tone, and melody.
The Making of My Fair Lady
The common lament was Broadway will never be the same! when My Fair Lady finally ended its stellar run the night of Sunday, September 30, 1962. Millions of people had seen the show over six years and had helped break box-office records, even though Rex Harrison, Julie Andrews, Stanley Holloway, and Robert Coote did not stay with the cast throughout the six-year run. MyFair Lady used the substance and wit of George Bernard Shaw to add a new dimension to the Broadway libretto.
Blue
In Blue: The Derek Jarman Poems, Keith Garebian, himself an insatiable cineaste, has masterfully spliced together an engaging book-length portrait of a filmmaker, visual artist, poet, sexual rebel, and gardener who double-dared the conventions of art, desire, and filmmaking. Derek Jarman's final film, Blue, is a work without visuals except International Klein Blue, and it provides Garebian with an inspired backdrop against which he explores, in the book's poignant closing section, the filmmaker's descent into illness-induced blindness, charting his physical and emotional decline while also building towards a kind of defiant holy death equal to the passions of Jarman's most sacred martyrs: Caravaggio, St. Sebastian, and Jesus Christ. In this life-affirming, cinematic, at turns randy and elegiac verse-biography, Keith Garebian celebrates one of the world's truly unforgettable and rebellious spirits.
Lerner and Loewe's My Fair Lady
"An Englishman's way of speaking absolutely classifies him, The moment he talks he makes some other Englishman despise him." - Henry George Bernard Shaw famously refused to permit any play of his "to be degraded into an operetta or set to any music except its own." Allowing his beloved Pygmalion to be supplanted by a comic opera was therefore unthinkable; yet Lerner and Loewe transformed it into My Fair Lady (1956), a musical that was to delight audiences and critics alike. By famously reversing Shaw’s original ending, the show even dared to establish a cunningly romantic ending. Keith Garebian delves into the libretto for a fresh take, and explores biographies of the show’s principal artists to discover how their roles intersected with real life. Rex Harrison was an alpha male onstage and off, Julie Andrews struggled with her ‘chaste diva’ image, and the direction of the sexually ambiguous Moss Hartcontributed to the musical’s sexual coding.
The Making of Gypsy
The difficulty for a modern star in Gypsy today is the competition with a ghost-Ethel Merman's, to be exact. It's no longer a case of making the role Mama Rose credible in all her volcano-force anomalies-of making her seem crazy yet funny, pitiful, and savage, sinner, and sinned against. She is downright interesting in her own right and in Arthur Laurent's writing, only a sub-par actress would fail to capitalize on that interest.
Mini Musings
"Keith Garebian has been a freelance theatre scholar for over forty years and a poet with six collections to his credit. Inspired by American playwright Sarah Ruhl's 100 Essays I Don't Have Time to Write, his book is a series of miniature reflections, meditations, and ruminations on subjects encompassing matters of theatre and poetry, two subjects very close to Garebian's heart. The titles alone speak to the little book's uniqueness: "Watching Your Father Die on Stage," "Do Actors Love the Audience?" "Filthy Shakespeare," "Great Roles Can Be Cannibalistic," "Japanese Death Poems," "Poetry and Persian Wrestling," "What Story Does Poetry Tell?" "Armenian Poetry," and "Can There Be Poetry After Donald Trump?" Perceptive, witty, and intimate, the mini musings bubble with a sense of wonder, excitement, and intimacy. A vibrant, provocative series of mini musings that also affords insight into a particular artistic sensibility as several pieces are really slices of memoir and autobiography"--
Poetry is Blood
"Combining eloquent lyrics and edgy anti-lyrics, the poems in Poetry is Blood both rehearse and flout conventions of lyric poetry to speak with deep-rooted melancholy about family and tribal history, ancient walls, paintings, monuments, martyred poets, and genocidal madness. These pieces have the wide cross-stylistic reach of elegy yet fearlessly resist any redemptive rhetoric. They possess the rare ability of being both personal and political at the same time."--
