Janet I. Buck, Ph.D.

In this book, Tom Weller presents a marvelous parody of introductory-level science books. It's full of marvelous, but horribly wrong, illustrations, such as showing how an eclipse happens when the Sun comes between the Moon and the Earth. His attempt to resolve the Evolution-Creationism debate is guaranteed to satisfy neither side. No major field of science is left unscathed, unfortunately.

This book would be most appreciated by people with a scientific background, although it would make an excellent gift to a child of someone you really wanted to confuse.

It's doubly fun if you happen to be a scientist yourself!

Give it a look!

1. BUY THIS BOOK. It contains all of the lyrics, super pictures, and more important, not only the entire script, but the entire chronology, from its inception as a movie to creating the stage story to slapping together the first few songs to nervously hosting the first previews in Chicago to its blockbuster grand opening at the St. James Theater in New York! It doesn't get more comprehensive than this!

2. BUY THE ORIGINAL CAST ALBUM ON CD. This contains every song, from start to finish, sung by the award winning cast. The lyrics are here too.

3. BUY THE DVD/VIDEO, "Recording The 'Producers' - A Musical Romp with Mel Brooks." This is the closest you can get to seeing the musical, albeit not on stage. And don't be fooled by the liner notes. This isn't ONLY the 85 minute version that aired on PBS, it has extra footage that clocks the package at around 1 hour and 40 minutes!

I saw the show in October and I'm going back to New York to see it again in March. I've NEVER been this INSANE about any entertainment product (books, films, music, staged theater) in my LIFE.

With all three items -- the book, the CD and the DVD/video -- you get a pretty good idea of what makes "The Producers," with its spectacular mix of merriment and mirth, mayhem and satire, so great! It deserves all of its hype. You can't oversell it!

Every song is a show-stopper, a throwback to the riffs that feel like a "best hits" package from the greatest musicals ever made. A little bit of Cole Porter, Gershwin, vaudeville and classic dance melodies reminiscent of Fred Astaire and Gene Kelly (e.g., "Gotta Sing-Sing!" -- as in prison!), with lyrics that are so happily vulgar and irreverent that you're lucky you're not more doubled-over in pain from laughing so hard if you could only see the girls wearing pretzels on their heads and others doing the swastika "circle" march (visible via a tilted mirror toward the audience), done in Busby Berkeley style! Heck, there's even a bit of an homage to the Andrew Sisters (e.g., "He's a Hot-sie-tot-sie Nazi! Woo-woo, he's a hot-sie-tot-sie Nazi! Woo-woo! The Fuhrer...is in a FUROR!")...

Sadly, this original cast won't be together much longer, but the traveling show officially begins next year (it'll be in San Diego from December 2002 to January 2003)! So the wait won't be as long as we thought!

To recap -- get the CD, the DVD/Video and THIS BOOK! Then you'll save some big-time $$$ until the show arrives in your backyard! Whatta deal!

The Producers is by far the best book I have ever read about the development and staging of a Broadway show. Anyone who likes Broadway, comedy, or Mr. Mel Books will find this book to be irresistible! For those who cannot get tickets to The Producers (or have tickets for 2003), this book is your best bet to enjoy this marvelous musical in the near future. I strongly recommend this book as a gift item for those who don't mind some salty language and references.

This book contains reminiscences of the show's development from the first contact by Mr. David Geffen to Mr. Mel Brooks to encourage Mr. Brooks to create a Broadway musical version of the 1968 motion picture of The Producers by Mr. Brooks. Each personal statement is accompanied by beautiful, lighthearted candid photographs of the people involved. One of the most touching sections involves how Ms. Susan Stroman was chosen to direct and choreograph the show after her talented husband and artistic partner, Mike Ockrent died, and Ms. Stroman was still in mourning. The stories about the first reading for producers will leave you with a tingle of excitement. After the first act was read, Mr. Rocco Landesman offered the St. James Theatre. Fourteen producers present eventually invested in the show, after Mr. Geffen had to bail out due to other commitments. The accounts are full of one-liners to keep you laughing as you learn. For example, turning a movie with two songs into a musical with 16 more is described as being "not unlike trying to translate it from English into Serbo-Croatian."

Although the feedback was good all along, everyone kept waiting for something to go wrong. But it never did. The most negative thing anyone said about the show was Mr. Brooks. "It's not funnier than Blazing Saddles." When the New York Times Review came in, it was an amazing rave that began with "How do you single out highlights in a bonfire?" You then get some background on sets, costumes, and winning 12 Tony awards.

From there, the book presents the libretto of the show and the lyrics of the songs. The only thing that's missing is the musical score. But you can sing to yourself, and enjoy the many wonderful photographs of the 22 person cast (featuring Nathan Lane as Max Bialystock and Matthew Broderick as Leo Bloom -- with full allusions to Ulysses intended). This is an annotated version, so it includes notes about what the draft versions had called for and the reasons why certain changes were made. Having seen the changes, I must agree that the decisions were unerringly improvements. Some of the false starts are pretty funny, too, such as the planned beginning with a "Hey, Nebraska" spoof of a well-known Broadway musical.

If you are one of the few people who doesn't know the story line, let me give you a brief summary without spoiling it for you. Max has just had a flop ("Funny Boy" based on Hamlet). Accountant Leo notices that Max made a small profit and speculates that a lot of money could be made by over raising money for a flop on which little was spent. Max falls in love with the idea, and draws Leo into a plot to do this. They find a story called "Springtime for Hitler" which they feel will offend practically everybody, and hire a director to make an outrageous version. Max raises the money by romancing elderly female investors. The rest of the story takes a number of unexpected twists that will delight and entertain you. One of my favorite lines from the show comes in Act 1, Scene 1 when Max comments that "the reviews come out a lot faster when the critics leave at intermission."

The appeal of the story is that it ultimately upholds positive values while poking good-natured fun at everyone involved in the Broadway community. Since no one is spared by the satirical spear, no one can be terribly offended. There's a lot of cross-dressing to spread out the small cast that gives the show some of the sophomoric appeal of a Hasty Pudding theatrical, which is well captured in the photographs.

Creativity experts say that you can find improved solutions by trying to do the opposite of what you've been trying to do. So the notion of trying to make something bad . . . to find something good . . . is a well established one. Turning something from one form into another one is also advised. So you can learn new ways to solve old problems, even from Broadway musicals!

I found the reality of what the authors are saying to be disturbing. Truly we can't continue doing church or outreach as we have for the past half century or even decade and expect good or different results. Rather than tear the church down, I felt Clegg and Bird were acting as consultants to guide the church through these changing times.

The authors challenge readers to move from program evangelism to relational evangelism, which is the New Testament pattern. They cite examples from their own lives of engaging pre-Christians with the Gospel through relational evangelism. So they are practicing what they are preaching, which is refreshing.

The book is chock full of interesting graphs and relevant statistics. It is plain to see that the church is losing ground in America, with the conversion rate not even keeping up with the birth rate. This book, calls the church to wake up and change!

If you are a church leader wanting to engage people liveing in post-modern culture with the Gospel in a relevant manner and see healthy reproducing churches established as a result, then this book is a must read. I think Clegg and Bird displayed much courage to write a book like this. Certainly not everyone will agree with them, but then again those are probably the people who are resistant to change and want us to go back to doing church like we did in 1970!

One of the most refreshing parts to this book is the style that it is written in. Unlike most books where there is a linear approach, we read this book like an interative seminar. It is creative, fresh and easy to read. I highly recommend this book.

This book makes one feel the need to give our lives to rescue those who otherwise will die. And, it is an urgent need! People are dying today without Christ. What can you do to save one person? Read this book, and you will be motivated and inspired to join the battle in a very real way.

If you are looking for a practical, beautiful, meaningful handbook for core shamanism ... look no further.

This book is packed full of exercises, ideas, journeys, interpretations and core shamanic values. I have been studying shamanism, and this is the most useful introductory text I have come across. It will give you the principles you need in order to build your own shamanic practice, without forcing you down the path of a certain cultural shamanic tradition.

As Cowan says: not all of us are cut out to be actual Shamans, but anyone can be a shamanic practitioner.

I highly recommend this book, whether you are already a practitioner, or are interested in learning more. This is not a book you will regret buying, no matter how advanced your practice becomes over time.

This novel is loads of fun to read. The majority of the characters are hippies from the 1960s who meet a stranger from the future who's looking to save his world. This fellow, Chiron, needs to find a troubled adolescent teen named Susan Stein (a.k.a. Starbright) for a very compelling reason. The book has a great deal to offer: swift action, lovable characters, spiritual insight, and well-chosen primary documents such as essays, poems, and news articles which round out the reader's understanding of the worldview of the novel.

I think Summer of Love has excellent potential for a wider audience. I hope it continues to enjoy a healthy amount of sales in the used books market on this site. I wish even more for it to be in wider circulation. Some books talk about the sixties. This novel IS the sixties, thanks to the spirit and scholarship of its author. And, as one reader aptly put it, "the sci-fi stuff is just plain off the hook." Get a copy. Most people who have read it seem to respect it and enjoy it every bit as much as I do.

'Blott on the Landscape' is about one woman's fight to keep her ancestral home at all costs, with the help of her gardener (Blott). We are exposed to the most improbable characters and actions imaginable, with rude behaviour and language in abundance. It all has a 1970s British television sitcom feel about it. Still I think most Brits will enjoy this book, and fortunately it is still in print over here.

Bottom line: Tom Sharpe in fine form. I'm still giggling.

Tom Sharpe's 'Wilt' books were comical enough but, in Blott on the Landscape and Porterhouse Blue, he excels even his own high standards of comic writing.