Welcome to Broadway - and to an unthinkable crime! Former theatre starlet turned amateur sleuth Jessie Beckett gets mixed up in murder when an on-stage shooting turns all too real. New York, 1926. It's not like Jessie Beckett goes around looking for murders to solve, but the vaudeville star turned movie script girl has a natural talent for it. After a lifetime on stage, she's sensitive to details that other people miss. So when leading theater star Allen Crenshaw is shot live on stage during a performance of hit Broadway show Rules of Engagement - a horrified Jessie watching from the second row - she knows she has to act fast before Allen's co-star, the beautiful Norah Rose, goes down for murder. After all, it was Norah who fired the fateful bullet . . . even if the shooting was all part of the show. Jessie investigates those closest to Allen - the presence of her theater companion, the superstar Adele Astaire, opening doors wherever they go - and finds only enemies. With the suspects for the disliked actor so numerous, can she uncover the truth in time to save Norah - or will the killer silence her too? Packed with real-life stars of the stage and screen, this page-turning romp through the boards and backstreets of Broadway is a perfect pick for readers who enjoy Jazz Age mysteries with intrepid female sleuths.

Christmas is murder-- when you're stranded in East Sussex with a killer. When guests at a secluded Victorian hotel start dying, all hopes for a jolly holiday are dashed.

Drama. Literary Nonfiction. Literary Criticism. READING THE UNSEEN: (OFFSTAGE) HAMLET is about the presence and significance of offstage action in Hamlet, things we hear about in words but do not see performed physically onstage--things like King Hamlet's murder "while [he] was sleeping in [his] orchard," Ophelia's death in "the glassy stream," Hamlet's visit to Ophelia's "closet ... with his doublet all unbraced," Gertrude and Claudius having sex "in the rank sweat of an enseamed bed." In a series of brilliantly original "close readings," Ratcliffe examines how it is that passages such as these make physically absent things verbally "present," how they "show" us things we do not actually see, how they bring us face to face with the "Words, words, words" that are what Hamlet is, he argues, most of all about.

The subject of this modern classic is not a man. "It is an event," says Jules Romains, who is considered "the French Dos Passos." The event starts with the death of Jacques Godard, a man of no importance. It unfolds through his brief survival in the minds of others - the porter of his tenement in Paris, his fellow lodgers, a few acquaintances, his old father, who comes up from the country for the funeral, a young stranger who feels that the dead pass into "a great soul that cannot die." The event expresses Romains's belief in "collective beings," the famous theory of "Unanimism." In dramatizing his theory, Romains developed an advanced motion-picture technique when films were in their infancy, a technique of group portraits and sudden shifts from scene to scene that keeps this work far ahead of conventional novels. Here, Romains explores the ideas and the devices used in his twenty-seven-volume masterpiece, Men of Good Will, which André Maurois calls "the boldest attempt to describe completely his own time that any French novelist has made since Balzac."

It's mid-August in the Outer Banks village of Corolla in North Carolina and Fire Chief Colleen McCabe is conducting rookie training and spending increasingly more time with her best friend, Sheriff Bill Dorman. The wild horses have been relocated to the sanctuary, and the town is occupied with the upcoming local theatre production. All is right with the world. But when a member of the acting troupe is found dead in the dunes after an emergency training exercise and Bill's ex-fiancée arrives in town, Colleen knows trouble is back with a vengeance. A second member of the theatre company is discovered dead at the Whalehead Club, and Colleen is forced to put aside her feelings about her relationship with Bill and work with him to uncover who is murdering the thespians and why. She discovers as much drama offstage as on and quickly finds herself swept up in the intrigue of the community theatre group, and struggling to keep her men at the firehouse focused. As the danger mounts and the killer's identity becomes clearer, Bill warns her off the investigation. But despite his warning, Colleen is determined to stop the killer before he or she strikes again, to her own peril. In Murder on the Hoof, her sequel to Foal Play, Kathryn O'Sullivan delivers more laughs and mayhem with charming characters mystery readers will love getting to know.

The Dashkova Ballet Company - a visiting Russian troupe led by Inspector Gautier's charming Soviet mistress, Princess Sophia - is about to become the toast of Paris when the famous Judge Prudhomme is found with a bullet in his heart in a squalid hotel room. And when the corpse of the beautiful prima ballerina Nicola Stepanova turns up equally cold, the company's once sparkling future pales considerably. Gautier has to solve the murders to save the troupe and salvage his great romance - all of which he undertakes with his customary élan, éclat and joie de vivre.