A reflection and symbol of the turbulent 1960s and the culture and lifestyles of the Hippies, Hair made history as the first rock musical on Broadway and one of the most successful musicals. The sixties left an indelible imprint upon the American psyche, and Hair, in the words of critic Clive Barnes, summed it up better than any other piece of American theatre. Aside from bringing experimental techniques and rock music to Broadway, Hair, in author Barbara Horn's view, represented a major step in the evolution of the concept musical from the book musical and was the first concept musical to reach mass audiences, an achievement unheralded and little recognized. Horn analyzes the social context of Hair and the Hippies, describes the tenor of the Broadway theatre of the times and the experimental trends Off-Broadway that culminated in Hair's innovations on the Great White Way. She then goes on to relate the dramatic story of Hair's creation and growth, dash myths and clarify the actual events, including the casual meeting of coauthors Gerome Ragni and James Rado with producer Joseph Papp on a train. The transfer of Hair to Broadway is fully detailed, and the Broadway production is compared with the earlier production at Papp's Public Theater with lists of song sequences provided. Several revivals and the film version are also discussed, and staff and cast lists appear as appendixes. Horn's extensive archival research is amplified by insights from numerous interviews, including those with the authors, Ragni and Rado; composer, Galt MacDermot; Broadway producer, Michael Butler, directors, Gerald Freedman and Tom O'Horgan, musical director, Galt MacDermot; set designer, Robin Wagner; lighting designer, Jules Fisher, cast members, Melba Moore and Lorrie Davis; and others associated with one or more of the productions, as well as with theatre critics and theorists. Numerous published works were also connsulted, and a strong bibliography is provided.

Based on the Publishing Training Centre's distance-learning course and aimed at proofreaders who want to progress to editing, and editors who want to learn and improve their skills. Reflects British practice and explains some of the important differences in American usage.

Theater critic Jerry Tallmer, remarking on Joseph Papp's death on October 31, 1991, said, He was a guy from Brooklyn who had a passion for Shakespeare and a passion for people. He was able to combine the two like no one else ever did. Barbara Horn, documenting Papp's career, declares it to have been inextricably tied to that of the New York Shakespeare Festival, which Papp founded in 1954, serving as its artistic leader for 37 years, and which survives him. His dream of producing free Shakespeare in the Park was expanded into the largest arts institution in the United States, combining Shakespeare with innovative contemporary theater performed at his nonprofit Public Theater as well as in New York City parks and schools. Papp produced some 450 plays, directing over 40. He nurtured some of the greatest playwriting talents, including Vaclav Havel, David Mamet, David Rabe, David Henry Hwang, John Guare, and Tina Howe, and provided opportunities for fledgling actors, among them George C. Scott, Colleen Dewhurst, James Earl Jones, Al Pacino, Kevin Kline, Raul Julia, Meryl Streep, and William Hurt. Public Theater plays such as Hair, A Chorus Line, and That Championship Season became huge hits on Broadway. Papp's productions, most with the New York Shakespeare Festival, are thoroughly documented, with credits, runs, synopses, and review commentary in this reference guide, which also includes a chronology of Papp's life and career, a biographical sketch, an annotated bibliography of works by and about Papp, and appendixes on film and television credits, related activities, and awards. Indexes of authors of bibliographic works, of playwrights and playtitles, and of production crew and cast complete the work.

Sophie and Grandma talk about when Grandma immigrated to America

NOLA ANDERS is getting ready to graduate from high school. While she is worried about what might happen once the services are over and she tries to face life on her own, she doesn't realize that fate has something else entirely in store for her. A small space ship has landed and the occupant, a mysterious man all covered in black, has come looking for a replacement for the girl he brought to take her place. She gets a glimpse of him and then he disappears only to reappear at her graduation and tear her away while leaving another person to take her place.TRAVELER, the man who kidnapped her, takes her to another planet. All he will tell her is that she has been taken in a world change. Finally, she meets with a cursed animal that is responsible for all that is happening. He tells her in a tortured voice that he has asked for a test which will allow his fellow calts to be transformed back to humans if he succeeds. Up until this point Nola has been given no choice, but now she decides that she will help the calt. Will she be able to do all the things required of her even though many of them seem impossible?After the LADIES transform the calt to a man called JAFFE, they are ready to begin the challenges. (In fact, hey make her virginity an issue.) The challenges involve the king and queen of a race called the Faddens, a deka called MOWBRAY from another race. Things begin to happen that make it clear someone is trying to kill her. Then they go to a race of reptilian people, who are untruthful to them.The Traveler receives false information that make Nola almost unable to go on. But she has dreams that make her stronger. There are other secrets involving her and Traveler. They are taken before DEEMS HARRIDAN an outlaw in the badlands. Jaffe refuses to leave. Much magic. Enemies and many deceptions continue through many challenges.