Ok, there is absoltuely NO denying the fact that Shakespeare is an awesome guy. Also, there is no denying that The Sonnets are gorgeous and intriguing. However, with the help of many FANTASTIC performers, there is NOW no denying that spoken sonnets are even better. Read by the stars, the sonnets have a new life to them- something inderscribable is added when they are read aloud by these voices. Kudos to (the one and only ) Brian Stokes Mitchell, who I particularly enjoyed, not only because I'm a huge fan of his, but because his voice lends itself extremely well to the words The Bard wrote. Great recording!

Tony Randall's wit,intelligence and remarkable memory including photographs of his remarkable life and career is demonstrated in this beautifully entertaining collection of show business stories.Along with co-writer Micheal Mindlin begin with Tony Randall as a young, eager acting student at the Neighborhood Playhouse in New York then his superb theatrical Career with such legends as Ethel Barrymore,Lilli Palmer,Sir Cedric Hardwicke and Paul Muni and on the screen with Rock Hudson,Doris Day,David Niven,Marilyn Monroe and Debbie Reynolds.He became a household name starting in the TV series Mr. Peepers with Wally Cox and the marvelous portrayal of Felix Unger in the long running series The Odd Couple.This book makes wonderful reading!!

Neither the absolute and utter despondency of sheer and impending defeat nor the the deposition of his honor and place in Roman society can deter the once-revered Marc Antony from his insatiable, yet ill-fated longing to be with the sultry and divine demigodess that is Cleopatra.

Having just read the incomparable Julius Caesar and longing for more of the same after Antony & Octavius Caesar's sound defeat of the "noble" Brutus and Cassius at Philippi, I ordered Antony & Cleopatra. Although in some respects it is similar to its predecessor, Antony & Cleopatra, having been written by Shakespeare much later in life after the tragic death of his lone son Hamnet and a turbulent relationship with his wife, brings forth a much more cynical and wily Bard than the young and idealistic one who wrote Caesar. This disillusionment can be witnessed not only in the tragic deaths of Antony and Cleopatra, but moreso subvertly in the incongruity and disingenuousness of their supposed driving impetus - their love for one another. Both Antony & Cleopatra continuously and almost purposefully betray each other throughout the play - undermining their ability to lead and therefore leading to their tragic and untimely demise.

I recommend this to those who adored Julius Caesar as well as those Shakespeare aficionados who simply cannot get enough of The Bard. Antony & Cleopatra proves a lucid, enjoyable, and easy read, although somewhat longer, but with less substance than Julius Caesar. Enjoyable nonetheless.

"Make not your thoughts your prisons." - Octavius Caesar

'Antony and Cleopatra' is a great tragedy about two personalities who were larger than life, and therefore shared a love fitting to their stature. Anthony is torn between the high seriousness & order of the Roman Empire (embodied in Caesar) and the sensuality & licentiousness of Ancient Egypt (embodied in Cleopatra)- worlds which are perfectly evoked by Shakespeare as he chronicles the political wheeling & dealing of the time, which ultimately led to the suicides of the two lovers. I don't think Shakespeare favours one world view over the other, and to read the play moralistically and say Rome = virtue = good and Egypt = vices = bad is to to do it a disservice.

The language in this play is often romantic and lush, a grand language suited to rulers of the world. Cleopatra's "O, my oblivion is a very Anthony,/ And I am all forgotten" has to be some of the most erotic stuff that the Bard ever wrote.

Cleopatra is a very passionate woman and a great role-player, but she is always herself, never inauthentic. What she feels may change from moment to moment, but while she's feeling it, it's REAL. I find her to be the more mature one in her and Anthony's relationship. Notice how she never yells at him for marrying Octavia, which is certainly a terrible betrayal. She accepts that he did what he had to do and is only glad that Anthony is again united with her. Her love for him is beyond judgement.

The relationship between Anthony and Caesar is a very complicated one, and one that fascinated me almost as much as that of Cleopatra and Anthony. Caesar admires Anthony, but he betrays himself as having contempt for him in the way he expresses that admiration. Dodgy man, that little Caesar.

Anthony and Cleopatra is one of Shakespeare's difficult plays, and so I suspect the ratings on the play are low because it's a more mature play than Romeo and Juliet. Here we have two middle age lovers who part of the time are foolish with lust/love and the rest of the time are tough minded heads of state. The "tragedy" is that they can't be both and survive. This is not a play for the young folks, I'm afraid. But if you want some heavy drama where the characters are spared nothing and given no slack, read Anthony and Cleopatra (hint: Cleopatra's suicide is more political statement than a crazy wish to die with Antony). Better yet see it performed by some real actors some time.

There are some gems in here, but not enough. The letter written by Groucho Marx is great, you can hear his voice in it. About two-thirds of the way through I got tired of wading through the muck to get to laugh-producing material, and gave up. I understand that this is not a joke book, but I just thought it would be funnier.

Humor being a matter of taste, it's difficult to find a collection that actually works. Russell Baker's collection really does accomplish what it sets out to do: "to make you laugh, or at least smile, or maybe just feel a little more interior warmth despite 'the situation'" (from the introduction). Running the gamut from sheer looniness to literary parody, and containing vintage material as well as contemporary items, this is a wonderful collection of items to lighten things up.

Leonard Warren was certainly one of America's greatest singers, ranking only after Merrill & Tibbett when it comes to baritones. In the 40 years since his death on stage at the Met during a performance of LA FORZA DEL DESTINO this is the first full-length biography devoted to him. Unfortunately, he deserves better. Much better.

After having read other books by the author, I was surprised at the ill-flowing, disjointed narrative here. She relies far too much on family recollections instead of objectivity. She repeats the story of Jan Peerce's anger at Warren's cobersion to Catholicism far too often as well as relying on Warren's sister. The recollections of fellow artists are few, of little importance, and were made mostly in conjunction with articles written decades ago. Except for some anonymous recording sessions in 1940, early in Warren's career, there is nothing about later sessions when he made his complete operas. Did he just show up, sing, and go home? Usually there are interesting stories to repeat (they could have at least borrowed Culshaw's about the GIOCONDA sessions). Likewise, there is no comment on why Warren was used only once by Toscanini. Did something happen? Were Valdengo or Merrill easier to work with than Warren? The author is silent. She also spends an inordinate amount of paper and ink huffily asking why Warren didn't progress faster to stardom at the Met - then answers he own questions by telling about other (and far more seasoned) artists like Tibbett & Bonelli, both of whom had senority over the newcomer Warren.

The index is worthless since there are no references to any of Warren's roles or even an entry for "Warren, Leonard." Are researchers expected to plow through this badly-written book for themselves?

The discography is also poorly organized and touts commercial releases plus those sponsored by the Warren Foundation, a release of VAI from the 1940 sessions and their own 2-CD set. Other issues, especially a superb 2-CD set on Romophone or a competing CD of the 1940 sessions on Minerva, are ignored or merely mentioned in passing.

By the way, anyone interested in the 2-CD Warren Foundation set might first look on their shelves. Except for 4 tracks, everything is already available elsewhere. They missed an excellent chance to use live material.

It may be a long time before we get anotehr Warren biography but this one isn't worth the time or effort.

It seems American publishers today are reluctant to touch any opera singers aside from three aging tenors. Amadeus Press is the notable exception. Stars such as Astrid Varnay, Martha Modl, Hans Hotter, and James King have had to turn to German publishers. In that atmosphere we opera fans should be happy to get ANY biographies of great singers. And, regrettably, this is probably the only biography of Leonard Warren we are likely to get for some time.

I use the term "regret" because Warren deserves a biography worthy of his stature as one of the finest singers America has produced. This isn't it. The writing style is more appropriate to a series of magazine articles than a smooth-flowing narrative. The content smacks more of a fan than an objective author. Too often we are bombarded by phrases from reviews and family memoirs. Why quote a family "review" of a Met performance that had Met manager Edward Johnson "almost falling out of his box" and a "five-minute ovation" when the newspapers presented a more restrained demonstration? The author also takes many pains to ask why Warren wasn't given starring roles earlier in his career when a more objective author would have been aware of the serious competition at the Met with Tibbett having considerable seniority as well as popularity. There are many aspects of Warren's career that the auhtor ignores (presumably because there was no family member present) such as the one concert with Toscanini and why Warren was never used again by Toscanini. Was Warren's arrogance at fault there as well? Recording sessions are ignored except for the first anonymous 1940 sessions. The index is terrible and almost useless. Entries are confined to names only, no works - and there is no entry for "Warren, Leonard" which limits this book as a reference. How are researchers to look up specifics about his life or career? They can't. Very lazy! The discography is equally difficult with such tables as combinations of studio plus "selected" live performances and studio sessions that include not only the complete operas but every time these were used in excerpts. The discography also fails to include several CDs of Warren's material (such as Minerva and Romophone that apparently compete with the 2-CD set from the Leonard Warren Foundation).

For most fans, this disappointing book will be self-recommending simply because there are no other Warren bios and none on the horizon. I'd put this on a par with the superficial Emmons treatment of Lauritz Melchior.