As a student who is interested in pursuing illustration, this book is a golden gem for it is a rather thorough journey that is fun to dive into. While many other books similiar to this would simply showcase all the artists' body of work, this book reveals the creative struggle that James McMullan went through with each poster to create an image that met his client's needs. Reference photographs of his models and early color and pencil studies depict the story that is accompanied with each poster that describes McMullan's process. Sometimes an early draft of one of his posters didn't hit the nail with the director of the play: the character depicted in the image needed to look older and more angry, less naive. Whatever the case, McMullan would have to go back and rework. And in some cases, he might even start over with an entirely new idea and take a different road with the poster. With each poster, there's a different story, a different process, a different challenge. And none of the posters that are shown in here have been neglected for the book reveals it all. Above all, I appreciate James McMullan's conceptual talent with his posters that manage to create an image that defines the play as a whole. With this book, it is a pleasure to find the process behind these posters as well as being able to gaze upon their beauty.

Rarely is one able to glimpse into the world of a well-known illustrator. But, in this book, the illustrator James McMullan, takes us into his studio and explains just how he has created the 36 posters, over a 30 year period, for New York City's Lincoln Center. The full-page reproductions of McMullan's posters combined with his lucid prose makes this a beautiful and highly engrossing book. When I went to buy McMullan's book the bookstore clerk said, "this is the most gorgeous book in the store." Indeed, he was right.

I performed as Harriet from Pullman Car Hiawatha in State Competition for one-acts, and we won! It is quite moving if done right, and is a lot like Our Town - on a shorter and more eccentric verson.

Guare's "House of Blue Leaves" is by far the most memorable, well-written, and exceptionally challenging play that I've yet to come across. Granted, the only production I've seen was an amateur presentation at a local performing arts center but, that aside, the content of Guare's play completely overshadowed any lackluster performances. As for the philosophy employed in so many recent films (Magnolia, Being John Malkovich) regarding self-affirmation through the powers of universal forces, "House of Blue Leaves" exemplifies this modernist philosophy through and through. Although "Six Degrees of Separation" is the more regarded of Guare's plays, HOBL is the most exceptionally subtle and quietly subversive. Very, very impressive work.

Books from a successful Broadway or off-Broadway show are typically pretty silly, or at least pandering about how fabulous it is. This is a decidedly curious marketing tool, since it comes out after the show has lost its steam in New York, before the movie is made, and while the show is sort of on tour.

Hedwig and the Angry Inch was a really fabulous off-Broadway show, though I don't think the script on paper will quite capture the experience and power of it. Still, as it is a most worthwhile production, any marketing tool behind it is assuredly for the bet.

For some people, the stage production of Hedwig And The Angry Inch was this greally great Off-Broadway musical. For others it taught them a little bit about themselves, about those around them, and about their lives. John Cameron Mitchell's text laces beautifully with Stephen Trask's lyrics to dish out an emotional beat down that hurts so much you love it.

If you haven't seen it, I'll admit, reading the script isn't going to do it for you, but if you've at least heard of it, go out and get yourself the CD and read along between the songs. There's also some incredible photography to look at, many of which haven't been seen before. You get a semi-decent idea of what's going on on stage, anyway. It's quite a show by some extremely talented people. I will never forget Hedwig or her brain parents as long as I live.

Well, I guess what I really have to say is, "wow!" I've been listening to the Hedwig soundtrack since it came out, but I never got a chance to see the play, and, consequently, I missed out on a GREAT deal. While this book doesn't replace seeing a show, it does contain the entire script. So now I've caught up and know more exactly what all of those fabulous songs are about!! And what a story . . .

Buy the soundtrack, and if you are at all moved, the next logical step is to buy the book. You will not be disapointed.

I saw this play in person, and just finished the book. Nothing better than great poetry made for our time. Highly recomend for those who who've seen it, or heard a review. Some of the plays are musical so they don't translate well to paper. One drawback.

Love's Fire embodies our perception of language. The spoken and unspoken voices of God, Love, Nature, and Humanity become the essential elements in this collection of one acts. Riveting and powerful, Love's Fire demands to be performed. Not only is the language spoken by the actors and heard by the audience, but the language of our contemporary masters blends with the master of language himself, William Shakespeare. As Love's Fire reinvigorates our grasp of language we come to an understanding that poems, sonnets, books, plays, spiritual songs, or body movements fuel the fire of love. An excellent piece of work by 7 masters who dedicated the collection to the Bard.

Shakespeare's inspired words talk to today's audience through the intriguing interpretations of master American playrights. Especially fascinating is John Guare's "The General of Hot Desire". These original works defy description...so read them...or better yet...perform them...and appreciate these unique literary gems in all their splendor.

Even if this play were worthless, which it is not quite, the concept that gives it its title has passed into the American lexicon, so it will long be remembered, if in name only. Supposedly based on true events, it tells the story of a New York City couple, Flanders (Flan) and Louisa (Ouisa) Kittredge, unsuccessful private art dealers who are desperately clinging to their Manhattan socialite lifestyle. Flan is cash strapped and badly needs to turn up some money to complete a two million dollar deal. One night, as they are hitting up a South African acquaintance for some money, a young black man, Paul, turns up on their doorstep. He claims to be a Harvard classmate of their kids who has just been mugged in Central Park. Any initial resistance they may feel towards this stranger evaporates when he cooks them and their guest dinner, expounds on Catcher in the Rye, reveals that his father is Sidney Poitier, and intimates that he might be able to get them all jobs as extras in his Dad's movie version of Cats. He plays their liberal guilt and their social climbing hunger to perfection and makes such an impression on the South African that he agrees to invest with Flan on the art deal. The grateful couple allow Paul to stay overnight in their apartment while they go out.

His implausible story begins to unravel though when, returning early to their apartment, they find him in bed with a male street hustler and throw them both out. Flan takes particular relish in telling the story of their visitor and they are surprised to find that Paul has similarly hustled a number of their friends. They, especially Ouisa, become obsessed with finding out who Paul really is; apparently just a street hustler. He drops back into their lives several times, and they are tangentially involved in a scandal when Paul seduces and dumps a young man who then commits suicide.

Most of the philosophizing in the play, with the exception of the Six Degrees concept, is fairly silly and the people are immensely annoying. There are some funny lines, but most of the humor comes from watching the loathsome Kittredges humiliate themselves repeatedly. It is perhaps the ultimate comment on the kind of people that the play portrays that none of it is very believable. Despite the nonfiction origins, it strains credulity to believe that people who are this shallow actually exist. I'd recommend it mildly, but only for its cruel treatment of a group of people I don't much like--upper class NY City liberals. The LA Theatre Works production has the added bonus that Flan is played by Alan Alda in a near self caricature.

GRADE : C

John Guare has created a witty, creative, funny, and tragic play with his SIX DEGREES OF SEPERATION, based upon the true story of a wealthy Manhattan couple who are fooled into allowing a con-man who claims to be a friend of their Harvard children, and the son of actor Sideny Potier into their home. Paul, the con-man in question, is a homosexual who has previously seduced a lover into telling him secrets about people in this upper-class Manahatten community. Paul even goes so far as to stabbing himself and claiming that he was mugged for his briefcase.

Mr. guare has adapted this story to the playbook with astoinding creativity and brilliance. His characters grow and learn with each passing scene. Mr. Guare is an incredible author who has built a beautiful world on the stage. I can't imagine how wonderful a sight this must be when seen live. SIX DEGREES OF SEPERATION is essential when studying or performing modern theater. Nothing this decade has stood out as much as this play.

I was introduced to this play about a month ago when I was cast in the role of Kitty, a friend of the Kitteredges. Intending to only skim the script and hilight my lines, I read the entire play in one sitting. From the opening scene to the closing, I felt like I was being included in the characters' experiences.
The characters' personalities are also quite deep. After the first couple of times that I read through the script, I realized that there was so much more to the characters than what was written on the page. Guare does a wonderful job of letting the reader use his imagination and create his own backgrounds and deeper personalities for the characters.
This play is an intellectual-artsy type for those who are willing to examine their trust for strangers.

This book is handy if you're a playwright looking for good names to imitate. It's handy if you're examining styles popular in short plays (many of them ten minutes or less). It's a neato-jet piece of gear if you're learning the language and jargon of the playwrighting scene.

This book is useless if you're a director looking to stage a one-act. The plays are too irregular, and many are too short unless you're running an evening of ten-minute plays. Some are radio plays, which are useless on stage. Some are cuttings or extended monologues. There is no unifying theme through the book, so it's hit-or-miss if what you find will even match any theme you may be looking for.

If you know this going in, the book can be useful to you. Many people like it. I found it a drag.

This really is, as the copy on the back claims, a "stunning and diverse" collection of one-act plays. To get familiar with authors and angles that you may not have encountered elsewhere, you can't beat these short sweet pieces. A lot of the usual suspects, big names snowing off the skills that have made them beloved of theatre-junkies across the nation, and selections by names you've never heard of before (and, for one or two of these, my bet is you will never hear of again). Really a must have collection that will give you plenty of enjoyment & ideas for your upcoming season or that as-yet-unwritten one act of your own. Why only four stars from me? I'm super stingy with the fifth...

Includes: Edward Albee, Finding the Sun; Christopher Durang, Naomi in the Living Room; John Guare, Four Baboons Adoring the Sun; David Hare, The Bay at Nice; Beth Henley, Am I Blue; David Mamet, A Life With No Joy In It; Arthur Miller, The Last Yankee; Tennessee Williams, The Chalky White Substance... and many more!

I thought that the play it's self had good moments in it. I read the screen play before I saw the play performed. I enjoyed the performance, but The script was less as entertaing. Another book along these lines is 'of mice and men' by john steinback. If you are into a little crazyness then both of these books would be a good book. they are normaly tought in high school together.

AMAZING! An awsome play to perform and to see!

The House of Blue Leaves is an exellent critique of the desire to achieve celebrity in our society. The characters in this story, namely Artie and Ronnie, are searching out fame in their own way (writing music for motion pictures and blowing the pope sky high, respectivly) mainly to achieve some sort of validity in their lives. They believe that their existance is meaningless without the acknowledgement of others. Through sharp, and sometimes dry and cynical writing, Guare makes you feel for the characteres and leaves you stunned at the end. With it's assortment of colorful supporting characters it is both a very funny and a very sad work of art.

This book is excellent if you are looking for a text on Chuck Close and his story. The photos in the the book are nice but merely brush on the true genius of Close's techniques in optical mixing and abstract/realism. The book is well designed and is an easy read. Most paintings shown have excellent details, giving the reader an inside look at his methods to achieve his unique style. If you enjoy this book, there is an excellent retrospective on Chuck Close at the MOMA in NYC from Feb.28.98-May.28.98.

John Guare has always been a curious playwright. He has also always been one of my favorite playwrights. His unique combination of giddy surrealism and downright perfect human emotions is thrillingly evident in his two high profile works, SIX DEGREES of SEPARATION and THE HOUSE OF BLUE LEAVES.

FOUR BABOONS ADORING THE SUN ranks, in my opinion, with the two aforementioned near-classics. Guare weaves in mythology and drama and the result is spectacular. The characters are real and you can easily relate to the main couple's struggle to join their two families together.

The one act plays featured in the published book are more unconvinving. A DAY FOR SURPRISES is the standout. Guare takes a laughable premise (the New York Public Library's enormous stone lion is in the bathroom eating unsuspecting workers) and makes it both funny and heartbreaking.

Is the book worth buying? I think so. I've leafed through it more than I've read it, but when I do read a play like FOUR BABOONS, it is energizing. Guare is in class of his own.