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"Welcome Stranger," by Aaron Hoffman: a comedy about a businessman's fight against anti-Semitism; features a particularly engaging hero. "Counsellor-at-Law," by Elmer Rice: a fast-moving play that takes place in the New York law offices of its main character. "Awake and Sing!", by Clifford Odets: The story of a working-class family in New York City; full of colorful syntax and expressions. "Morning Star," by Sylvia Regan: a very moving play that follows a New York City family over the course of two decades; historical events like the Triangle factory fire are skillfully woven into the story. "Home of the Brave," by Arthur Laurents: the story of a Jewish-American soldier and his unit in combat in the Pacific theater during World War II; features some really harrowing scenes. "The Cold Wind and the Warm," by S.N. Behrman: A story of love, loss, and friendship; biblical law plays a key plot point. And finally, "The Tenth Man," by Paddy Chayefsky: A story of supernatural possession that takes place entirely in an orthodox synagogue on Long Island; a marvelous blend of dark comedy and creepy horror.
I've never seen any of these plays performed. But for the most part, the plays in this volume make excellent reading texts. "Awake & Singing" is one of those great anthologies that I would recommend for classroom use, for reading groups, and for the individual reader. Especially recommended if you're interested in 20th century American drama or the Jewish-American experience.
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Two potential caveats for newcomers: 1) I am not sure why this book is so expensive; perhaps the number of remaining copies is limited. When I acquired my copy a few years ago, it was substantially cheaper. If you're on a tight budget, you can probably get more Sherlockian bang for your buck elsewhere. 2) Keep in mind that this is almost entirely a compilation of SHERLOCKIAN criticism, as opposed to the more conventional brand. In other words, the articles proceed under the tongue-in-cheek assumption that Holmes & Watson were real people -- thus, this book will probably not help you very much if you are looking for sources for an academic, literary study of Doyle's work. If you are reading for personal enjoyment, though, and have the cash, it's great fun, and **highly** recommended.
A fine addition to this volume would be Shreffler's "Sherlock Holmes by Gas-Lamp", which includes highlights of the first 40 years of the Baker Street Journal.
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Any mention of the high points of Hutchings' survey ought to include his early rejection of old-school Bach idolaters, who attempted to condemn Georg Philipp Telemann as a facile, commercially-minded "scribbler". Hutchings observes that Telemann is better viewed as an incomparable stylist, a sincere and meticulous craftsman, and a "school of his own" whose "feeling for the materials of music reminds one of Mozart." Hutchings cannot, however, be said to have substituted Telemann-worship for Bach-worship: His balanced appraisal of Telemann also observes that this artist was not incapable of pleasing "patrons of the worst taste", or of composing flute concerti "cast from molds".
Other high points of THE BAROQUE CONCERTO include Hutchings' repsect for Jean-Marie Leclair (the elder), who remains curiously undervalued, even as the quality and sophistication of his large-scale violin works stand comparison to J.S. Bach's. Hutchings' analyses of such better-known "concertists" as Corelli, Vivaldi, Handel, and Bach himself are equally compelling, exemplifying the admirable ability to re-examine and transform received opinion that I have already cited. Only Hutchings' dismissals of Giuseppe Tartini and Thomas Augustine Arne strike dissonant chords of disappointment in this reviewer; perhaps only in his high praise of Allessandro Marcello's "La Cetra" does Hutchings not seem to have shrewdly anticipated the current state of Baroque criticism.
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