There are thousands of pantomimes staged throughout the world every year, most of them in Britain. Most groups, whether they be amateur drama societies, schools, Women's Institutes or Village Hall committees are constantly on the lookout for something fresh and original. This is often a matter of economics, as professional pantomimes can be costly in terms of performing rights, let alone the cost of scripts. This book is aimed at those people who take part in this increasingly popular hobby, and at the writer who wishes to write a pantomime, either for a local group, or, indeed, for mass publication.

This book offers perhaps the most comprehensive history of pantomime ever written. No other book so thoroughly examines the varieties of pantomimic performance from the early Roman Empire, when the term “pantomime” came into use, until the present. After thoroughly examining the complexities and startlingly imaginative performance strategies of Roman pantomime, the author identifies the peculiar political circumstances that revived and shaped pantomime in France and Austria in the eighteenth century, leading to the Pierrot obsession in the nineteenth century. Modernist aesthetics awakened a huge, highly diverse fascination with pantomime. The book explores an extraordinary variety of modernist and postmodern approaches to pantomime in Germany, Austria, France, numerous countries of Eastern Europe, Russia, Scandinavia, Spain, Belgium, The Netherlands, Chile, England, and The United States. Making use of many performance and historical documents never before included in pantomime histories, the book also discusses pantomime’s messy relation to dance, its peculiar uses of music, its “modernization” through silent film aesthetics, and the extent to which writers, performers, or directors are “authors” of pantomimes. Just as importantly, the book explains why, more than any other performance medium, pantomime allows the spectator to see the body as the agent of narrative action.

Comedian and actor Paul Harris has brought together an hilarious collection of theatrical material, much of it originating in Victorian times and refined and updated in many pantomime productions since.

From the Sunday Times bestselling author of Seven Devils 'A fantastical, richly drawn, poignant take on a classic coming-of-age story' – Leigh Bardugo In a land of lost wonders, the past is stirring once more . . . Gene's life resembles a debutante's dream. Yet she hides a secret that would see her shunned by the nobility. Gene is both male and female. Then she displays unwanted magical abilities - last seen in mysterious beings from an almost-forgotten age. Matters escalate further when her parents plan a devastating betrayal, so she flees home, dressed as a boy. The city beyond contains glowing glass relics from a lost civilization. They call to her, but she wants freedom not mysteries. So, reinvented as 'Micah Grey', Gene joins the circus. As an aerialist, she discovers the joy of flight - but the circus has a dark side. She's also plagued by visions foretelling danger. A storm is howling in from the past, but will she heed its roar? 'A lyrical, stunningly written debut novel' – Amy Alward

The perfect recipe for hygge: make a hot chocolate, draw the curtains, snuggle under a blanket and read your way to happiness! It's autumn in Yulethorpe and everyone is gloomy. It's cold, drizzly and the skies are permagrey. The last shop on the high street - an adorable little toy shop - has just shut its doors. Everything is going wrong for Yulethorpe this autumn. Until Clara Kristensen arrives. Clara is on holiday but she can see the potential in the pretty town, so she rolls up her sleeves and sets to work. Things are looking up until Joe comes to Yulethorpe to find out exactly what is going on with his mother's shop. Joe is Very Busy and Important in the City and very sure that Clara is up to no good. Surely no one would work this hard just for the fun of it? Can a man who answers emails at 3 a. m. learn to appreciate the slower, happier, hygge things in life - naps, candles, good friends and maybe even falling in love? Rosie Blake is Brilliantly fun - Heat Just brilliant - Fabulous magazine Hilarious - Hello **** Reviewers love The Hygge Holiday 'Feel-good fiction at its absolute finest' - Isabelle Broom, Heat 'The most gorgeous read' - Sun 'What a wonderful book! Rosie Blake's best novel yet - I had such a gorgeous time reading this story that I couldn't put it down. It was genuinely funny, warm-hearted, and full of unforgettable characters. A pure heartwarming pleasure of a read.' - bestselling author Kirsty Greenwood Light the scented candles and hunker down on the sofa with a hot choc... this funny, warm hug of a book is the ideal companion. - Fabulous magazine 'The Hygge Holiday is hilarious, cosy, heart-warming, fulfilling; pretty much everything you would want from a book... An absolutely phenomenal tale from the incredibly talented Rosie Blake... Be prepared to devour The Hygge Holiday in one sitting. Be prepared to love this book, because yes, it truly is THAT fabulous. Five stars for sure.' - The Writing Garnet 'I loved it' - Heidi Swain, author of Mince Pies and Mistletoe at the Christmas Market

In the fall of 1723, two London theaters staged, almost simultaneously, pantomime performances of the Faust story. Unlike traditional five-act plays, pantomime—a bawdy hybrid of dance, music, spectacle, and commedia dell'arte featuring the familiar figure of the harlequin at its center—was a theatrical experience of unprecedented accessibility. The immediate popularity of this new genre drew theater apprentices to the cities to learn the new style, and pantomime became the subject of lively debate within British society. Alexander Pope and Henry Fielding bitterly opposed the intrusion into legitimate literary culture of what they regarded as fairground amusements that appealed to sensation and passion over reason and judgment. In Harlequin Britain, literary scholar John O'Brien examines this new form of entertainment and the effect it had on British culture. Why did pantomime become so popular so quickly? Why was it perceived as culturally threatening and socially destabilizing? O’Brien finds that pantomime’s socially subversive commentary cut through the dampened spirit of debate created by Robert Walpole's one-party rule. At the same time, pantomime appealed to the abstracted taste of the mass audience. Its extraordinary popularity underscores the continuing centrality of live performance in a culture that is most typically seen as having shifted its attention to the written text—in particular, to the novel. Written in a lively style rich with anecdotes, Harlequin Britain establishes the emergence of eighteenth-century English pantomime, with its promiscuous blending of genres and subjects, as a key moment in the development of modern entertainment culture.