Theater on the Cape began in 1916 when a group of artists and writers in Provincetown mounted a production of a one-act play, Bound East for Cardiff, by a little-known playwright, Eugene O'Neill. They staged the play in a rickety old theater on a wharf in what was then little more than a sleepy fishing village. From that artists' colony--and others like it across the Cape and Islands--it grew into the constantly expanding theater universe it is today. The theatrical descendants of O'Neill and the Provincetown Players continue to present classical drama, contemporary hits and new, experimental works to audiences that have come to expect the best. In her tour of the theaters from Provincetown to Falmouth, author and entertainment columnist Sue Mellen reveals the rich past behind a unique cultural treasure.

AUTHOR'S NOTE: This book has been replaced by a fuller account of Edward Gorey's theatrical work, Edward Gorey On Stage: Playwright, Director, Designer, Performer: a Multimedia Memoir, available in both print and e-book formats. How to classify the extraordinary Edward Gorey? Artist? Writer? Dark humorist? What about Dramatist? It was in theatre that Gorey's public career started and finished. As a postwar Harvard University student, he and his friends Frank O'Hara, Alison Lurie, John Ashbery, and others created the legendary Poets' Theatre. After winning a Tony Award on Broadway for Frank Langella's Dracula, Gorey left New York for Cape Cod. From Woods Hole to Provincetown, he wrote, designed, and directed a scintillating set of "entertainments" starring local actors and his own troupe of handmade puppets. Chief producer of Gorey's plays was his friend and neighbor Carol Verburg. Now she tells how he did it. From "The Helpless Doorknob" and "The Gilded Bat" to "Horror at Hamstrung Hall" and "Porptiga," she chronicles Gorey's adventures in drama, puppetry, opera, and even (briefly) acting.

Della makes cakes, not judgment calls – those she leaves to her husband, Tim. But when the girl she helped raise comes back home to North Carolina to get married, and the fiancé is actually a fiancée, Della’s life gets turned upside down. She can’t really make a cake for such a wedding, can she? For the first time in her life, Della has to think for herself.

This is a book for the thinking actor, and the finest actors I've known are just that. The best actors bring it all together body, heart, spirit, and mind. This book is for the actor who thinks about craft and influence, who thinks about the relationship of performance to living, who thinks about doing and what that doing means. Acting is a metaphor and it's a mirror, and, so, a theory of acting, if true, shows us to ourselves. Jeff Zinn knows this. He knows it as an actor, director, teacher, and thinker. His theory of everything is simple and revelatory. (from the foreword by Todd London)

In August 1831, Nat Turner led a slave uprising that shook the conscience of the nation. Turner's startling account of his prophecy and the insurrection was recorded and published by attorney Thomas R. Gray. Nathan Alan Davis writes a timely new play that imagines Turner's final night in a jail cell in Jerusalem, Virginia, as he is revisited by Gray and they reckon with what has passed, and what the dawn will bring. Woven with vivid imagery and indelible lyricism, Nat Turner in Jerusalem examines the power of an individual's resolute convictions and their seismic reverberations through time.