Hardcover. NY, Robert M. McBride, 2nd pr., 1927, Book: Very Good, Dust Jacket: None, Hardcover, floral decorated boards, black cloth spine, paper title labels, lacking dust jacket. American playwright, Green won the Pulitzer in 1927 for In Abraham's Bosom. 317 pages, top edge stained red. A clean, bright copy.

Hardcover. Boston, John W. Luce and Company, 1st US, nd, Book: Very Good, Dust Jacket: None, Hardcover, olive green cloth over tan cloth boards, no dustwrapper; 149 pages. No date but appears to be circa 1900. A uncommon edition of a Tolstoy play. Title page states "Authorized Edition". Owner's signature on front fly leaf otherwise clean.

Hardcover. NY/London, Routledge, 1st, 1993, Book: Very Good, Dust Jacket: Very Good, Hardcover in a bright dust jacket, 283 pages, b&w illustrations. " Richard Schechner explores the nature of ritualised behavior and its relationship to performance and politics. A brilliant and uncontainable examination of cultural expression and communal action, THE FUTURE OF RITUAL asks pertinent questions about art, theatre and the changing meaning of 'culture' in today's intercultural world. It is richly illustrated with over 50 photos of pereformances and public events." Clean copy.

Hardcover. NY, Random House, 1st, 1954, Book: Very Good, Dust Jacket: None, Hardcover, "A Random House Play", 131 pages illustrated with photographs from the stage production featuring Kaye Ballard and Jerry Stiller. Cover label illustration by Hirschfeld. John Latouche's Introduction is his unusual expository curtain speech recounting the circumstances of the plays inception and history. Front end paper tanned. No dust jacket.

Hardcover. NY, Harcourt, Inc., 1st, 2005, Book: Very Good, Dust Jacket: Very Good, Hardcover in a bright, unclipped dust jacket. 312 pages, b&w illustrations. This is the extraordinary story of Eli Wallach's many years dedicated to his acting craft which began in Brooklyn and grew in his college years in Texas. He has worked with many of the stars in movies and has been in many well-known movies, but he will always be remembered as a Western badman in the Spaghetti Westerns of the 60s and 70s. Clean copy.

Hardcover. NY, Viking Press, 1st, 1954, Book: Very Good, Dust Jacket: None, Hardcover, two-tone blue cloth covers, 120 pages. The blackly comic play about the oppressed lives of women in 1950s New York. One of literature's leading humorists, Dorothy Parker drew from the dark side of her imagination to pen The Ladies of the Corridor, a searing drama about women living on their own in a New York residence hotel. Loosely based on Parker's life, and co-written with famed Hollywood playwright Arnaud d'Usseau, The Ladies of the Corridor exposes the limitations of a woman's life in a drama teeming with Parker's signature wit. This copy INSCRIBED BY FRANCES STARR on the front fly leaf who had a leading role in the play as Mrs. Nichols.

Hardcover. NY, Viking, 1st, 1994, Book: Very Good, Dust Jacket: Very Good, Hardcover in a bright, unclipped dust jacket. 521 pages, b&w photos. A biography of the Russian Jewish emigrant who introduced American audiences to ballet and brought live music, dance, and theater to small towns discusses his work in Moscow and his work with Isadora Duncan, Marian Anderson, Nureyev, and other greats. Remainder line to bottom edge otherwise clean.

Hardcover. NY/New Haven, Coward-McCann / Yale University, 1st, 1931, Book: Very Good, Dust Jacket: None, Hardcover, #38/525 copies, Numbered and SIGNED by Wilder on a leaf tipped onto the copyright page, bound in faux-vellum spine, flowered paper covered boards. Mild foxing to a few pages, otherwise clean. A one act play whose action spans 90 years in the home of one family, specifically in the dining room during Christmas dinners. laid in is a page of The Yale Alumni Weekly from 1931 with a review of the play.

Hardcover. NY, Knopf, 1st, 1979, Book: Very Good, Dust Jacket: Very Good, Hardcover in a bright, price-clipped dust jacket, 326 pages. Extensively illustrated in color and black and white. Clean copy. Margot Fonteyn shares her personal vision of the history of dance.

Hardcover. London, Allen & Unwin, 1st, 1970, Book: Very Good, Dust Jacket: Very Good, Hardcover in a lightly worn dust jacket with fading to spine. INSCRIBED BY THE TRANSLATOR INGALLS on the front fly leaf. The desperate struggle between the aging Manchu Empress T z'u-hsi and her young nephew the Emperor, at the close of the nineteenth century. A story told as a parable against both Japanese occupation and the Communist rule. Small ownersjp stamp on first page, otherwise clean.

Softcover. London, The Curtain Press, 1946-48, Book: Very Good, Dust Jacket: None, Softcovers, five stapled pamphlets. 1) Oscar Wilde and the Theatre, 23 pages. Contains eight pages of costume designs by Cecil Beaton four in color, along with other cartoons and drawings and a text by James Agate. 2) Notes on the Verse Drama by Christopher Hassall. 36 pages. With Wood Engravings By Joan Hassall. 3) The Masque of Christmas: Dramatic Joys of the Festival described by Laurence Whistler, 40 pages. 4) The Masque. a Theatre Notebook. the Old Vic. King Lear. Reviewed by Ivor Brown. No. 1 December 1946, 16 pages. 5) Designs for the Theatre by Rex Whistler (Part 1) with color and b&w illustrations, 20 pages. All very good, clean.

Hardcover. NY, Harcourt Brace Jovanovich, 1st, 1973, Book: Very Good, Dust Jacket: None, Hardcover, bright turquoise cloth with gilt stamping, dj flaps laid in. A look behind Graham's artistic interpretations of her work, reproducing her working notes. 464 pages, clean copy. NOTE: DUE TO WEIGHT, DOMESTIC SHIPPING ONLY.

Softcover. Los Angeles, Augustan Reprint Society, reprint, 1989, Book: Very Good, Dust Jacket: None, Softcover, 40 pages, b&w frontis. Facsimile reprint of 18th century (1732) edition. An anti-Catholic play by Fielding, Introduction by Connie Capers Thorson. Includes bibliographical references.

Softcover. Los Angeles, Augustan Reprint Society, reprint, 1989, Book: Very Good, Dust Jacket: None, Softcover. A facsimile reprint.

Softcover. NY, Harmony Books, 1st, 1985, Book: Very Good, Dust Jacket: None, Softcover, 249 pages. The original, complete, and totally unedited scripts from the now famous BBC "Hitchhiker Radio Show." Clean, bright copy.

Hardcover. Chicago, University of Chicago Press, 1st, 1988, Book: Very Good, Dust Jacket: Very Good, Hardcover in a bright dust jacket, 178 pages. The drama is the most social of the arts, depending upon physical space, audience, and social factors for its existence. It is no surprise, therefore, that the most successful criticism approaches theater the way Barber and Mullaney do: as historical artifact. Barber is the better known, having authored the classic Shakespeare's Festive Comedy (1959); the present volume is based on his papers and examines three early Elizabethan tragedies"Tamburlaine" and "Dr. Faustus" by Marlowe and "The Spanish Tragedy" by Kyd. Particularly interested in locating these plays in the unstable religious atmosphere of the late 16th century, Barber ably demonstrates his understanding of the social, historical, and economic factors that defined the era. Mullaney takes the novel approach of examining the theater in light of London topography; the title thus refers to the physical location of the playhouses as well as the social importance of the theater. Mullaney points out that the prejudice that forced the great theaters of the age to operate outside the city walls encouraged a drama that was radical and iconoclastichence its greatness. Mullaney's argument is fascinating and thought-provoking, convincingly presented. Clean copy.

Softcover. NY, New York Theatre Program Corp., 1938, Book: Very Good, Dust Jacket: None, Softcover, 48 page playbill program for the Shubert revue "Hooray for What!" starring Ed Wynn (featured on the cover) and Vivian Vance ( of The Lucy Show). Great ads feature night spots like Sardi's and The Cotton Club. Light wear, stapled, clean. 6 3/4 X 9 1/4".

Softcover. Los Angeles, Augustan Reprint Society, reprint, 1981, Book: Very Good, Dust Jacket: None, Softcover. Facsimile reprint of two 18th century editions; stapled wraps; 37 clean, 65 unmarked pages. The librettos and music by Motteux and Eccles. Clean copy.

Softcover. Los Angeles, The Augustan Reprint Society , reprint, 1986, Book: Very Good, Dust Jacket: None, Softcover, 80,pages. A facsimile reprint, Introduction by Deborah C. Payne. Clean, bright copy.

Softcover. The New Press, 1st, 2008, Book: Very Good, Dust Jacket: None, Softcover, 364 pages. Collects the Pulitzer Prize-winning oral historian's remarkable conversations with some of the greatest luminaries of film and theater. Originally published under the title The Spectator, this "knowledgeable and perceptive" (Library Journal) look at show business presents the actors directors, playwrights, dancers, lyricists, and others who created the dramatic works of the twentieth century. Among the many highlights in these pages, Buster Keaton explains the wonders of unscripted silent comedy, Federico Fellini reflects on honesty in art, Carol Channing reveals that she is far more serious than she lets on, and Marlon Brando turns the tables and wants to interview Terkel. We learn about crucial artistic decisions in the lives of Arthur Miller, Tennessee Williams, and Edward Albee and hear from a range of film directors, from Vittorio De Sica and King Vidor to Satyajit Ray. We even get to witness Terkel playing straight man to a wildly inventive Zero Mostel. Clean copy.

Hardcover. NY, Bantam Books, 1st, 1987, Book: Very Good, Dust Jacket: Very Good, Hardcover ina bright, unclipped dust jacket. Conceived by Mikhail Baryshnikov. Written and directed by Peter Anastos. Photographs by Arthur Elgort. Introduction by Jean Poniatowski. A humorous takeoff of the classical ballet conceived by a classical ballet dancer. 80 unnumbered pages. Clean copy.

London, Rupert Hart-Davis, 1st, 1961, Book: Very Good, Dust Jacket: None, Hardcover, green cloth with gilt lettering on spine, 292 pages. Maps on the endpapers. Black and white illustrations by Timothy Birdsall. A illustrated guide to the major theatres in London along with a brief history of each. No dust jacket. A bright, clean copy.

Hardcover. Boston, David R. Godine, 1st, 2009, Hardcover, 192 pages. The photography of Angus McBean encompasses more than three decades of the history of British theater. His work includes most of the memorable productions of the Old Vic Company and of what is now the Royal Shakespeare Company; opera productions at Glyndebourne and the Royal Opera House, Covent Garden; ballet and operetta at Sadler's Wells; and West End productions of plays and musicals both old and new -- hundreds of productions in all. He was the favorite photographer of Vivien Leigh, Laurence Olivier, and Edith Evans, and he photographed countless plays starring John Gielgud, Ralph Richardson, and Alec Guinness, not to mention younger stars such as Audrey Hepburn, Richard Burton, and Elizabeth Taylor. In fact, McBean photographed virtually every great actor of his era, perhaps the most brilliant years in the annals of British theater.His studio was active and eclectic; among his patrons were not only actors, singers, and dancers, but also playwrights, producers, composers, artists, and writers. In his early career, McBean had been a pioneer of surrealist photography, with a highly popular series of "surrealized" portraits that appeared in The Sketch, and, later, of montage and multiple-exposure photography in a long-running series for The Tatler.In 1969, McBean approached Harvard University to initiate the sale of his collection, and in the following year his archive of glass plate negatives, index prints, and programs, together with the copyrights, became a part of the Harvard Theatre Collection, where it remains the most often-requested collection of visual material. The photographs in this book, selected and captioned by the archive's curator, Fredric Woodbridge Wilson, have been carefully reproduced from the original negatives.

Hardcover. Boston, David Godine, 1st, 2009, Book: Very Good, Dust Jacket: Very Good, Hardcover, 192 pages. The photography of Angus McBean encompasses more than three decades of the history of British theater. His work includes most of the memorable productions of the Old Vic Company and of what is now the Royal Shakespeare Company; opera productions at Glyndebourne and the Royal Opera House, Covent Garden; ballet and operetta at Sadler's Wells; and West End productions of plays and musicals both old and new-hundreds of productions in all. McBean was the favorite photographer of Vivien Leigh, Laurence Olivier, and Edith Evans, and he photographed countless plays starring John Gielgud, Ralph Richardson, and Alec Guinness, not to mention younger stars such as Audrey Hepburn, Richard Burton, and Elizabeth Taylor. In fact, McBean photographed virtually every great actor of his era, perhaps the most brilliant years in the annals of British theater.