Stagestruck: theater, AIDS, and the marketing of gay America.

Tommy is so excited. His first-grade class is putting on a play about Peter Rabbit, and he’s sure to get the starring role. But in his enthusiasm, Tommy talks too much in class, so his teacher decides that he should play Mopsy instead—and Mopsy doesn’t have any lines! Tommy is disappointed until he gets an idea. If he can’t be the star, he can still get the audience’s attention by reacting to everything Peter Rabbit does. But how will Tommy’s mother and teacher react to his performance?

After 12-year-old Anya is cut from her middle school soccer team, she decides to pursue her true passion, which is theater. With the help of her sister and new friend Austin, Anya puts together a kids’ summer theater troupe (The Random Farms Kids’ Theater), recruiting area kids as actors and crew members. Acting as director, Anya has to navigate the ups and downs of a showbiz life, including preparing scripts, finding a venue, and handling ticket sales, not to mention calming the actors’ insecurities and settling conflicts. It’s a lot of responsibility for a 12-year-old. Will their first show ever get off the ground? This series is closely based on the real-life experience of Anya Wallach, who began a summer theater “camp” in her parents’ basement when she was just sixteen years old. Today, Random Farms has launched the careers of many of today’s youngest stars on Broadway.

"Lovesey is a wizard at mixing character-driven comedy with realistic-to-grim suspense. And in a writing career spanning four decades, he has created a stylish and varied body of work." —The Wall Street Journal Pop diva, Clarion Calhoun, has packed the house with a celebrity appearance in Bath's Theatre Royal production of I Am a Camera. But within moments of her much-anticipated onstage appearance, she's pulled out of character as she screams and claws at her face. When tainted stage makeup is found to have caused the disfiguring burn, fingers point to her makeup artist. Detective Peter Diamond investigates when the makeup artist is found dead, pushed from a catwalk far above the stage. As Diamond digs deeper, he uncovers rivalries among the cast and crew and is forced to confront his own mysterious and deep-seated theatre phobia to find the killer.

An actor, a vaudevillian, and a dramatist before he became a filmmaker, D. W. Griffith used the resources of theatre to great purpose and to great ends. In pioneering the quintessentially modern medium of film from the 1890s to the 1930s, he drew from older, more broadly appealing stage forms of melodrama, comedy, vaudeville, and variety. In Stagestruck Filmmaker, David Mayer brings Griffith’s process vividly to life, offering detailed and valuable insights into the racial, ethnic, class, and gender issues of these transitional decades. Combining the raw materials of theatre, circus, minstrelsy, and dance with the newer visual codes of motion pictures, Griffith became the first acknowledged artist of American film. Birth of a Nation in particular demonstrates the degree to which he was influenced by the racist justifications and distorting interpretations of the Civil War and the Reconstruction era. Moving through the major phases of Griffith’s career in chapters organized around key films or groups of films, Mayer provides a mesmerizing account of the American stage and cinema in the final years of the nineteenth century and the first three decades of the twentieth century. Griffith’s relationship to the theatre was intricate, complex, and enduring. Long recognized as the dominant creative figure of American motion pictures, throughout twenty-six years of making more than five hundred films he pillaged, adapted, reshaped, revitalized, preserved, and extolled. By historicizing his representations of race, ethnicity, and otherness, Mayer places Griffith within an overall template of American life in the years when film rivaled and then surpassed the theatre in popularity.

Romance and the supernatural mingle with uncontrolled dark ambition, and Abby — with the help of her extraordinary horse, Dancer — must put a stop to it before her entire community is destroyed. Champion showjumper Dancer needs a new rider for the upcoming Grand Invitational, and Abby Malone is delighted to be chosen. It’s a dream come true, and she can hardly wait to get started. However, it turns out that Abby and Dancer may have some unexpected — and dangerous — hurdles to jump. The community is staging a play in the old converted barn, and as strange events begin to occur, Abby soon discovers something about the theatre is not quite right. Is she imagining things? Or is someone out to get her?

Stagestruck traces the making of a vibrant French theater industry between the reign of Louis XIV and the French Revolution. During this era more than eighty provincial and colonial cities celebrated the inauguration of their first public playhouses. These theaters emerged as the most prominent urban cultural institutions in prerevolutionary France, becoming key sites for the articulation and contestation of social, political, and racial relationships. Combining rich description with nuanced analysis based on extensive archival evidence, Lauren R. Clay illuminates the wide-ranging consequences of theater’s spectacular growth for performers, spectators, and authorities in cities throughout France as well as in the empire’s most important Atlantic colony, Saint-Domingue. Clay argues that outside Paris the expansion of theater came about through local initiative, civic engagement, and entrepreneurial investment, rather than through actions or policies undertaken by the royal government and its agents. Reconstructing the business of theatrical production, she brings to light the efforts of a wide array of investors, entrepreneurs, directors, and actors—including women and people of color—who seized the opportunities offered by commercial theater to become important agents of cultural change. Portraying a vital and increasingly consumer-oriented public sphere beyond the capital, Stagestruck overturns the long-held notion that cultural change flowed from Paris and the royal court to the provinces and colonies. This deeply researched book will appeal to historians of Europe and the Atlantic world, particularly those interested in the social and political impact of the consumer revolution and the forging of national and imperial cultural networks. In addition to theater and literary scholars, it will attract the attention of historians and sociologists who study business, labor history, and the emergence of the modern French state.