Pocket Playhouse is Michael Frayn's latest imaginative offering that brings the stage to the page. In thirty-six comic sketches, he provides a tour de force of theatrical imagination and satire. Each sketch reveals the author's infectious delight in writing between the lines of theatre, fiction and comedy.Charmingly packaged and published with flair, Pocket Playhouse is the perfect gift for all theatre and comedy writers.

A small farming village in County Kerry, Ireland, where a new Hollywood film is being shot, serves as the setting for this hilarious and affecting comedy.

The Royal Opera House, Covent Garden, presents some of the most accomplished ballet and opera artists in productions of world-renowned quality and remarkable scale. There have been three theatres on the site. The original theatre opened in December 1732 and served initially as a playhouse. The first ballet was performed there in 1734, and the first opera (by Handel, who wrote many operas and oratorios for Covent Garden) later in the same year. The present building - the third on the Covent Garden site following two disastrous fires - opened in 1858 and has been known as the Royal Opera House since 1892. The Covent Garden complex was extensively transformed in several phases during the late 20th and early 21st centuries. It is the home of The Royal Opera, The Royal Ballet and the Orchestra of the Royal Opera House. Harry Cory Wright's photographs explore every aspect of the Royal Opera House, from the red-and-gold auditorium and the rehearsal spaces of The Royal Ballet to the behind-the-scenes workshops where props, wigs, costumes, weapons and sets are created on site with extraordinary skill.

A fascinating analysis of anonymous publication centuries before the digital age Everywhere and Nowhere considers the ubiquity of anonymity and mediation in the publication and circulation of eighteenth-century British literature—before the Romantic creation of the “author”—and what this means for literary criticism. Anonymous authorship was typical of the time, yet literary scholars and historians have been generally unable to account for it as anything more than a footnote or curiosity. Mark Vareschi shows the entangled relationship between mediation and anonymity, revealing the nonhuman agency of the printed text. Drawing richly on quantitative analysis and robust archival work, Vareschi brings together philosophy, literary theory, and media theory in a trenchant analysis, uncovering a history of textual engagement and interpretation that does not hinge on the known authorial subject. In discussing anonymous poetry, drama, and the novel along with anonymously published writers such as Daniel Defoe, Frances Burney, and Walter Scott, he unveils a theory of mediation that renews broader questions about agency and intention. Vareschi argues that textual intentionality is a property of nonhuman, material media rather than human subjects alone, allowing the anonymous literature of the eighteenth century to speak to contemporary questions of meaning in the philosophy of language. Vareschi closes by exploring dubious claims about the death of anonymity and the reexplosion of anonymity with the coming of the digital. Ultimately, Everywhere and Nowhere reveals the long history of print anonymity so central to the risks and benefits of the digital culture.

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