"A Midsummer Night's Dream" is one of Shakespeare's most charming and intelligent comedies. Exploring with humour the theme of star-crossed lovers that he deals with tragically in "Romeo and Juliet," Shakespeare here takes three troubled relationships and has them intersect in the most amusing ways.

The impending nuptials of Theseus and Hippolyta set the background for the play, and are certainly the most distant, both from the immediate action, and in terms of romantic possibility. Theirs is a cool, rational relationship, seemingly devoid of passion. The already-married Oberon and Titania, king and queen of fairies, provide another marital backdrop. Both seem to be jealous of the other's chosen distractions, which deprive them of each other's company. Finally, the main action of the play concerns the love affair between Lysander and Hermia. Hermia's father, Egeus, wants his daughter to marry Demetrius, and does not approve of Lysander at all. Helena, Hermia's friend, is smitten with Demetrius, and so, the conflicts begin.

Oberon initiates the action of the play, goading his mischievous aid-de-camp, Puck, to stir up trouble with a love-inducing flower amongst both the human lovers and the fairy queen Titania. Foible and folly ensue when Puck starts into his work. Throw in some common craftsmen from Athens who are trying to put together a simple play for Theseus's wedding, and you have all the ingredients for enchantment.

In "A Midsummer Night's Dream," Shakespeare not only delves into the intricacies of human relationships on a romantic level, but also at the social, class, and interpersonal levels. He even critiques/celebrates the habits of his late 16th century audiences to intriguing effect. If you are tired of tragedy or think Shakespeare too distant or foreboding, pick up "A Midsummer Night's Dream," and you will find a solidly funny and endearing read.

I teach preschoolers and they ask for this book over and over again. The catchy rhyming rythmn seems to be pleasing to them. The pictures are adorable and the story takes them along on the adventure with "The Bear".

How accessible Ruth Draper has become! It used to be that the few recordings of her monologues were not only hard to buy, but usually stolen from the library collections and never returned. (I won't mention any names.) However, having access to information on this remarkable performer's life is as important as having access to the history of the Peloponnesian War. There wasn't anyone like her.

Born into New York society in the late 1800's; her father a Doctor (and co-founder of New York University Hospital), her mother a musician; young Ruth, with her serious eyes, demonstrated early on a remarkable talent for mimicry. She imitated the family governess to the delight of her siblings, and before long moved from the nursery to the family parlor, entertaining houseguests with her unique brand of theater.

She was enrolled in "Miss Spence's" school (for girls), but found the environment not suited to her personality. A German Governess was hired to tutor her at home, and under her guidance Ruth Draper the student flourished.

Mrs. Warren has written a wonderful biography of Ruth Draper. Her record is notable because she was actually a friend, and ardent admirer of RD. They were acquaintances through family, and after noticing Dorothy Warren attending a great deal of performances, Ruth Draper instructed the stage manager to allow her to come and go as she wished; that she would no longer have Dorothy Warren paying to see her perform.

This book should be, in addition to her recordings, fundamental reading for theater students. Mentioned in the same catagory as Shakespeare, Stanislavsky, Tennessee Williams, and The Group Theater. I'm shocked when drama students tell me they've never heard of Ruth Draper!

Read this book, and Mrs. Warren's compilation of Ruth Draper's letters. (Available here together!) Then go to drapermonologues.com and order yourself writer Susan Mulcahy's fantastic compilations of the classic Ruth Draper recordings, and some that were never released.

I envy the person who has yet to discover her work, and life! What a treat you're in for.

Ultimately, yes, this is a great book. Well worth reading. His basic premise-that acting doesn't have to be torture to be good is great. He points out the many flaws in the method, which I agree with, especially after studying alot of that nonsense!
He's got a simple and concise way of breaking down scenes and getting to the core of it. All that makes this book outstanding. My only major gripe is, after studying this technique with one of Don's pupils for a few months, I came to find his system for creating emotions downright silly and uneffective. I want to be fair and say that this way MY own exp. Maybe others didn't exp. the same thing but, I thought the system for creating emotions (feeling it in your body and breathing heavily to generate feeling)to just be very gimmicky. It totally felt unnatural and manipulative. I just couldn't get it to work without feeling fake and kind of dumb. It sounded AWESOME in words cause it was so much simpler then method ideolgy (go back to past life exp.)but in practice it never clicked. My conclusion on that is that it's better to learn to really create the circumstances vividly, analyze your script well and then trust your talent and surrender to that-not push and manipulate emotions. That's my personal exp. and perhaps others might have a different exp. although that was from direct application.
Get this book, apply it, there are definately some gems, he makes it simple, maybe TOO simple at times.

After translating this book into spanish,I have had a very close relationship with don richardson's text. I trust that this book will be as valuable to spanish speaking theater students as it has been to english speaking actors and actresses. I would like to publish the work, and would like to contact mr. richardson.

The best book I ever read about the art of acting. It's simple and direct. I require it in my classes. Wonderful for directors as well

My three and four year olds love this story about the night time adventure of one forgotten teddy bear. It has just the right amount of tension, (provided in the form of an owl swooping down to take the teddy bear on an unexpected ride), and resolution (the bear is rescued by a stranger, taken home and then brought back to the park). Getting left behind in the park is something these little ones can easily relate to, and I appreciated both the illustrations and the sweet rhymes that move the story along (without nonsense words). One of their favorites.

We first borrowed this book from the library. My son wanted it read again and again and refused to let me return it to the library. Therefore I have had to buy it for him as it really is his favourite book. He really feels for the bear left alone in the park and it is just scary enough both in text and pictures. The bear is worried,hopeful,brave,scared,assertive,patient, sorrowful,happy,tired and loved all in 24 wonderfully illustrated pages. There is an element of adventure that is present in this book and the other two titles - This is the Bear and This is the Bear and the Picnic Lunch. I would thoroughly recommend all three.

I bought this book because both of my children loved reading another book by the same author called, "This is the Bear". In comparison to this is the bear, this book is not as good. The illustrations are in full color and well done as in the other book, but the story is not as cute. Young children adore the gentle text and will soon be reciting the story along with you. This book will appeal greatly to toddlers and preschool children. It makes a wonderful quick read before bedtime.

My four year old just loves this book. We borrowed it from the library, and she wants me to read it again and again. She also likes to "read" it by herself, i,e look at the pictures and re-tell the story. The pictures are cute, the writing is simple, and the story holds her attention. A perfect book for 3-5 yr olds who like teddybears.

Helen Hayes whose life story would be fascinating to all fans of Broadway and/or Hollywood pretty much squanders this effort by traducing a large assortment of individuals. What makes this badmouthing all the more unpleasant is the fact that most of her targets were deceased at the time of its publication and unable to present their side of the story.

While the recurring instances of charcter assasination are the book's biggest liability, the First Lady of the American Theater also comes off as somewhat self-centered and shallow.

Those who respect the many noble actions which typified Helen Hayes' final decades will be disappointed and likely disturbed by this autobiography that does not do her memory justice.