THE STORY: An East Indian gets lost on his first day in New York as two teenage punks find him waiting at a lonely bus stop. He cannot understand English, and the boys have some fun with him-at least it starts out as fun. But little by little, as the minutes go by and the bus doesn't come, they get bored; then annoyed; then vicious. It is the very pointlessness of their brutality that makes the play-with its awful final image of the Indian jabbering into a dead phone-so disturbing. We are convinced that this is exactly what would happen at this particular bus stop on this particular night; we see, again, that violence in the big city is as much a child of ennui as of anger. And, as the nightmare spell of the play takes hold, and the boys torture their victim with increasing relish, we are brought to a shocking awareness of how thin the veneer of civilization can be-of how close beneath the surface of all men lurks the primitive impulse to hurt and humiliate those whose very helplessness and inability to communicate can only frustrate and enrage.

The bestselling author of Fast Fade reveals Pacino's turbulent and controversial personal life in this compelling portrait of a complex and fascinating actor--one of Hollywood's most glamorous anti-heroes. A must for film buffs.--Newsday. Ties in with release of new Pacino movie Glengarry Glen Ross. Fine.

This brilliant collection of Horovitz's newest one-act plays can be mixed and matched to form several "theme" evenings

"This new and updated Guide, with over 2,700 cross-referenced entries, covers all aspects of the American theatre from its earliest history to the present. Entries include people, venues and companies scattered through the U.S., plays and musicals, and theatrical phenomena. Additionally, there are some 100 topical entries covering theatre in major U.S. cities and such disparate subjects as Asian American theatre, Chicano theatre, censorship, Filipino American theatre, one-person performances, performance art, and puppetry. Highly illustrated, the Guide is supplemented with a historical survey as introduction, a bibliography of major sources published since the first edition, and a biographical index covering over 3,200 individuals mentioned in the text."--BOOK JACKET.

An indispensable ally for actors terrified by monolgue. Poggi's acclaimed technique combines improvisation and textual analysis to help beginners and pros alike improve solo performance.

From one of the most iconic actors in the history of film, an astonishingly revelatory account of a creative life in full To the wider world, Al Pacino exploded onto the scene like a supernova. He landed his first leading role, in The Panic in Needle Park, in 1971, and by 1975, he had starred in four movies—The Godfather and The Godfather Part II, Serpico, and Dog Day Afternoon—that were not just successes but landmarks in the history of film. Those performances became legendary and changed his life forever. Not since Marlon Brando and James Dean in the late 1950s had an actor landed in the culture with such force. But Pacino was in his midthirties by then, and had already lived several lives. A fixture of avant-garde theater in New York, he had led a bohemian existence, working odd jobs to support his craft. He was raised by a fiercely loving but mentally unwell mother and her parents after his father left them when he was young, but in a real sense he was raised by the streets of the South Bronx, and by the troop of buccaneering young friends he ran with, whose spirits never left him. After a teacher recognized his acting promise and pushed him toward New York’s fabled High School of Performing Arts, the die was cast. In good times and bad, in poverty and in wealth and in poverty again, through pain and joy, acting was his lifeline, its community his tribe. Sonny Boy is the memoir of a man who has nothing left to fear and nothing left to hide. All the great roles, the essential collaborations, and the important relationships are given their full due, as is the vexed marriage between creativity and commerce at the highest levels. The book’s golden thread, however, is the spirit of love and purpose. Love can fail you, and you can be defeated in your ambitions—the same lights that shine bright can also dim. But Al Pacino was lucky enough to fall deeply in love with a craft before he had the foggiest idea of any of its earthly rewards, and he never fell out of love. That has made all the difference.

This work reveals the myths of New York and the various, often paradoxical ways that authors have portrayed New York City. Part One examines New York from the perspectives of a New York aristocracy (e.g. Henry James), immigrants (e.g. Mario Puzo), African Americans (e.g. Ralph Ellison), and Jews (e.g. Daniel Fuchs). Part Two studies variations and themes of New York mythology in the works of Stephen Crane, Tom Wolfe, F. Scott Fitzgerald, and Theodore Dreiser, among others. Part Three covers New York in theatre, including works from Eugene O'Neill and Arthur Miller.