Historian Michael Dawson digs deep into the written and pictorial record to reveal how the RCMP, since its inception, has constructed and zealously guarded its public image. Drawing on previously untapped sources, Dawson documents how consultants and entrepreneurs deliberately transformed and modernized the traditional symbolism of the Mountie. His trenchant analysis extends to the ironies of the recent licensing of the hallowed Mountie image to the ultimate dream-merchants—Disney.

Gerald Bordman's American Musical Theatre has become a landmark book since its original publication in 1978. In this third edition, he offers authoritative summaries on the general artistic trends and developments for each season on musical comedy, operetta, revues, and the one-man and one-woman shows from the first musical to the 1999/2000 season. With detailed show, song, and people indexes, Bordman provides a running commentary and assessment as well as providing the basic facts about each production.

Hailed as "absolutely the best reference book on its subject" by Newsweek, American Musical Theatre: A Chronicle covers more than 250 years of musical theatre in the United States, from a 1735 South Carolina production of Flora, or Hob in the Well to The Addams Family in 2010. Authors Gerald Bordman and Richard Norton write an engaging narrative blending history, critical analysis, and lively description to illustrate the transformation of American musical theatre through such incarnations as the ballad opera, revue, Golden Age musical, rock musical, Disney musical, and, with 2010's American Idiot, even the punk musical. The Chronicle is arranged chronologically and is fully indexed according to names of shows, songs, and people involved, for easy searching and browsing. Chapters range from the "Prologue," which traces the origins of American musical theater to 1866, through several "intermissions" (for instance, "Broadway's Response to the Swing Era, 1937-1942") and up to "Act Seven," the theatre of the twenty-first century. This last chapter covers the dramatic changes in musical theatre since the last edition published-whereas Fosse, a choreography-heavy revue, won the 1999 Tony for Best Musical, the 2008 award went to In the Heights, which combines hip-hop, rap, meringue and salsa unlike any musical before it. Other groundbreaking and/or box-office-breaking shows covered for the first time include Avenue Q, The Producers, Billy Elliot, Jersey Boys, Monty Python's Spamalot, Wicked, Hairspray, Urinetown the Musical, and Spring Awakening. Discussion of these shows incorporates plot synopses, names of principal players, descriptions of scenery and costumes, and critical reactions. In addition, short biographies interspersed throughout the text colorfully depict the creative minds that shaped the most influential musicals. Collectively, these elements create the most comprehensive, authoritative history of musical theatre in this country and make this an essential resource for students, scholars, performers, dramaturges, and musical enthusiasts.

The Gayety & Other Stories is a fourth collection of short stories by Thomas McCavour. The Gayety is a story about two singers modelled after the lives of Nelson Eddy and Jeanette MacDonald. Robo is a story about artificial intelligence and robots. Milly and Sandy is about a mother daughter relationship. Bones Among the Dunes is a story about hostage taking. Dudley George is a true story about a dispute over indigenous land. Love Triangle Lost is about infidelity and its reward. Eight Ball is a lesbian love story. The 6th Sense is a story about a clairvoyant boy who phorsaw the destruction of Hiroshima, Nagasaki and the end of World War II. The Star is a story about a tree ornament that relates what it has seen. G-Men & G-Strings is a murder story. Yes I Remember It Well is about an Alzheimer victim who becomes an inspirational speaker. A Twin's Tale is a story about a mother that seduces her twin daughter's boyfriend. I Learned to Walk is another inspirational story about a paraplegic learning to walk. Stranded is a story about a female astronaut who is temporarily stranded on the moon. Billy Bee tells about the lives of two bees. The Trinity Carving is about a retired dentist who becomes wood carver. The Impossible Dream is a story about a handicapped boy who becomes a famous percussionist. The Mole is a story about an Auschwitz Nazi who is discovered, charged and sentenced to death. Klepto is a story about a kleptomaniac and finally Pulling Petals is a story about a mortician that falls in love with a florist.

When Lady in the Dark opened on January 23, 1941, its many firsts immediately distinguished it as a new and unusual work. The curious directive to playwright Moss Hart to complete a play about psychoanalysis came from his own Freudian psychiatrist. For the first time since his brother George's death, Ira Gershwin returned to writing lyrics for the theater. And for emigre composer Kurt Weill, it was a crack at an opulent first-class production. Together Hart, Gershwin, and Weill (with a little help from the psychiatrist) produced one of the most innovative works in Broadway history. Though Lady in the Dark was a smash-hit, it has never enjoyed a Broadway revival, and a certain mystique has grown up around its legendary original production. In this ground-breaking biography, bruce mcclung pieces together the musical's life story from sketches and drafts, production scripts, correspondence, photographs, costume and set designs, and thousands of clippings from the star's personal scrapbooks. He has interviewed eleven members of the original company to provide a one-of-a-kind glimpse into the backstage story.

Whether they appeared on Broadway or the Strand, the shows appearing in 1924 epitomized the glamor of popular musical theatre. What made this particular year so distinctive – so special – was the way it brought together the old and the new, the venerated and the innovative, and the traditional and the chic. William Everett, in his compelling new book, reveals this remarkable mid-Roaring Twenties stagecraft to have been truly transnational, with a stellar cast of producers, performers and creators boldly experimenting worldwide. Revues, musical comedies, zarzuelas and operettas formed part of a thriving theatrical ecosystem, with many works – and their leading artists – now unpredictably defying genres. The author demonstrates how fresh approaches became highly successful, with established leads like Marie Tempest and Fred Stone appearing in new productions even as youthful talents such as Florence Mills, Fred and Adele Astaire, Gertrude Lawrence and George Gershwin now started to make their mark.