An engaging and compelling production history of the original Broadway version of Cabaret, this book is a meticulous record of how a great musical came into being. Encompassing everything from literary sources to music and lyrics, design and production process, it is the ultimate reference for theatre specialists and general readers alike.

Making Automata is hard. Making other sorts of three dimensional objects can also be hard, but he extra dimension of movement seems to add a disproportionate amount of difficulty. For most people, especially those untrained in engineering skills, getting to the point where making making mechanical devices is easy, can be a long and frustrating task. Then again, there are many people who have a sound understanding of engineering but can't even draw a horse. These things can be learnt. This book does not teach you to draw a horse, but it removes the mystery that surrounds the world of mechanisms and the business of making things move. Cabaret Mechanical Movement contains a lot of theory but it is also packed with practical tips and ideas for making your own automata, moving toys, or mechanical sculpture.

Step into Ernst Wolzogen's Motley Theater, Max Reinhardt's Sound and Smoke, Rudolf Nelson's Chat noir, and Friedrich Hollaender's Tingel-Tangel. Enjoy Claire Waldoff's rendering of a lower-class Berliner, Kurt Tucholsky's satirical songs, and Walter Mehring's Dadaist experiments, as Peter Jelavich spotlights Berlin's cabarets from the day the curtain first went up, in 1901, until the Nazi regime brought it down. Fads and fashions, sexual mores and political ideologies--all were subject to satire and parody on the cabaret stage. This book follows the changing treatment of these themes, and the fate of cabaret itself, through the most turbulent decades of modern German history: the prosperous and optimistic Imperial age, the unstable yet culturally inventive Weimar era, and the repressive years of National Socialism. By situating cabaret within Berlin's rich landscape of popular culture and distinguishing it from vaudeville and variety theaters, spectacular revues, prurient nude dancing, and Communist agitprop, Jelavich revises the prevailing image of this form of entertainment. Neither highly politicized, like postwar German Kabarett, nor sleazy in the way that some American and European films suggest, Berlin cabaret occupied a middle ground that let it cast an ironic eye on the goings-on of Berliners and other Germans. However, it was just this satirical attitude toward serious themes, such as politics and racism, that blinded cabaret to the strength of the radical right-wing forces that ultimately destroyed it. Jelavich concludes with the Berlin cabaret artists' final performances--as prisoners in the concentration camps at Westerbork and Theresienstadt. This book gives us a sense of what the world looked like within the cabarets of Berlin and at the same time lets us see, from a historical distance, these lost performers enacting the political, sexual, and artistic issues that made their city one of the most dynamic in Europe.

Set in Berlin between the two world wars the play explores the tensions leading to the rise of Hitler.

A handy and engaging chronicle, this book is the most detailed production history to date of the original Broadway version of Cabaret, showing how the show evolved from Christopher Isherwood's Berlin stories, into John van Druten's stage play, a British film adaptation, and then the Broadway musical, conceived and directed by Harold Prince as an early concept musical. With nearly 40 illustrations, full cast credits, and a bibliography, The Making of Cabaret will appeal to musical theatre aficionados, theatre specialists, and students and performers of musical theatre.

Harlem's nightclubs in the 1920s and '30s were a crucible for testing society's racial and sexual limits. Combining performance theory, historical research, and biographical study, this title explores the role of nightlife performance as a definitive touchstone for understanding the racial and sexual politics of the early 20th century.

**LONGLISTED FOR THE DESMOND ELLIOTT PRIZE** An uncompromising, darkly humorous look at life in the criminal underworld of the Irish border from a major new Irish literary voice. Dundalk—The Town, to locals—took Aoife in when she left home at eighteen. Now she’s gone from a small-time slinger of hash to a bona fide player in Dundalk’s criminal underworld. Aoife’s smart, savvy, and cool under pressure. Except, that is, when it comes to Annie. Annie is mysterious and compelling, and Aoife is desperate to impress her and keep her close. Unfortunately, not everyone in The Town shares Aoife’s opinion of Annie. So much so that when Aoife’s friend and associate, the Rat King, approaches her about off-loading ten kilos of stolen coke, he specifically tells her to keep Annie out of it. Aoife doesn’t want to do the job without Annie, though, so she lands on an idea. Annie has contacts in the UK, and sure it’d be better to get the coke as far away from Dundalk as possible. At first, everything goes to plan. But when Annie decides she'd like to stay in the UK, Aoife makes a decision that changes everything, and finds her whole world turned upside down. Gritty yet tender, tragic yet hopeful, Iron Annie crackles with energy, warmth, and heart. A VINTAGE CRIME/BLACK LIZARD ORIGINAL.