In the opinion of the publishers, act one is the warmest, most engrossing—and by far the most revealing—book about the theatre that they have ever encountered.It is, of course, a success story, for Moss Hart today is one of the most brilliant, successful and famous figures in the American theatre, both as a playwright and as a director.How did it happen? Not easily. His boyhood and adolescent years were spent in two entirely different backgrounds, and the stories of both are fascinating. With the opening of his first Broadway play, Once in a Lifetime, his world changed abruptly. This book concludes with a detailed telling of the complicated steps whereby that play came into being. “I consider the memories and pledges that were part of the struggle that preceded success the vital ones,” the author says. He has set these memories down with unusual candor, humor and excitement; and the book is an intimate and informative portrait, not only of him self but of the world of the theatre as well.

Director, playwright and screenwriter Arthur Laurents -- author of Gypsy, West Side Story, Anastasia, The Turning Point, and other plays and films -- takes us into his life, and into the dazzling world in which he worked, among the artists, directors, actors and personalities who came of age in the theatre and in Hollywood after the Second World War.He takes us into his boyhood in Flatbush and his days at Cornell, where he learned to write plays, learned he was homosexual, learned what his politics would be as he organized support for the Spanish Civil War and protests against campus witch hunts (these undergraduate years became the basis for The Way We Were). He takes us into his days in the Army as a sergeant (in Astoria, Queens), writing training films with Irwin Shaw, William Saroyan, John Cheever, sunbathing with Bill Holden and competing to see which of them could outdrink the other.Laurents describes a wartime New York City that was vibrant, eager and sexually alive, where he wrote for radio (The Man Behind the Gun; Lux Radio Theater). He confesses his methods for devising plots: make a list of twists and turns from successful movies, number them from one to fifteen, choose at random and link them up. He describes the writing of his first successful play, Home of the Brave, about anti-Semitism (later made into a movie about racism by Stanley Kramer), and writes about getting on with pals -- among them Jerome Robbins (an imp who loved to play parlour games, the sillier the better; later he testified before the House Committee of Un-American Activities and named names), Leonard Bernstein and Nora Kaye, later Laurent's lover and beloved friend, then a new star in Antony Tudor's Ballet Theatre.In and out of bed with men as well as women, in and out of success with his work, Laurents describes his Freudian analysis with Theodore Reik, who insisted he could "cure" Laurents of his homosexuality, and cure him of what Reik diagnosed as Laurents's "selfishness" by being paid "ten percent of vot you make." Laurents gave; Reik took.We see Laurents going off to Hollywood, reporting for duty at MGM, then a "feudal domain, a prisonlike fortress behind stone walls" . . . driving up to Irene Mayer Selznick's house for the first time and having a sense of deja vu (he had seen it all before in MGM pictures of tastefully grand English country houses -- "No bulter but yards of maids") . . . writing the script for The Snake Pit . . . Laurnets playing volleyball and charades at Gene Kelly's with lots of liberal talk and pot-luck meals . . . playing in Charlie Chaplin's round-robin "Cockamamie Tennis Tournaments" . . . going for  a Memorial Day weekend sail with Katharine Hepburn and Spencer Tracy on a 125-foot yacht, Hepburn changing into identical spotless white ducks and shirts every hour on the hour with Tracy lolling in a chair, crocked the whole trip, and Hepburn patting pillows behind his neck . . . Laurents writing the script for Rope, a movie with three homosexual men at its center, just as he is beginning a long affair with one of the picture's stars, Farley Granger, as well as an intense, complicated but happy collaboration with the picture's director, Alfred Hitchcock . . . and being propelled out of Hollywood for a life in Paris when his agent, Swifty Lazar, tells him, "You're blacklisted, dear boy . . . the  studio said you're too expensive before I mentioned money."Laurents writes about his return to New York and his smash hit play, The Time of the Cuckoo, with Shirley Booth, later made into a movie called Summertime with Katharine Hepburn, then into a musical (Do I Hear a Waltz?, with music by Richard Rogers, words by Stephen Sondheim). He writes about jump-starting Barbra Streisand's career by casting her in her first Broadway show, I Can Get It for You Wholesale ("There was one part available -- a fifty-year-old spinster. Streisand was nineteen. She came in with her bird's nest of scraggly hair and her gawky disorganized body, clumped across the stage, took her wad of gum out of her mouth, stuck it under the chair and began to sing; eight bars into the song, I knew she had to be in the show. I checked later, no gum"). He writes about the creation of Gypsy with Jule Styne and Stephen Sondheim (Laurents to Ethel Merman: "Rose is a monster. How far are you willing to go?" Merman to Laurents: "I'll do anything you want.") . . .  about the directing of La Cage aux Folles . . . and about coming together in a complex, fraught collaboration with his three old pals Robbins, Bernstein and Sondheim for West Side StoryFunny, fierce, honest -- a life richly lived and told.(With 80 photographs)

There is a superstition that if an emptied theater is ever left completely dark, a ghost will take up residence. To prevent this, a single "ghost light" is left burning at center stage after the audience and all of the actors and musicians have gone home. Frank Rich's eloquent and moving boyhood memoir reveals how theater itself became a ghost light and a beacon of security for a child finding his way in a tumultuous world. Rich grew up in the small-townish Washington, D.C., of the 1950s and early '60s, a place where conformity seemed the key to happiness for a young boy who always felt different. When Rich was seven years old, his parents separated--at a time when divorce was still tantamount to scandal--and thereafter he and his younger sister were labeled "children from a broken home." Bouncing from school to school and increasingly lonely, Rich became terrified of the dark and the uncertainty of his future. But there was one thing in his life that made him sublimely happy: the Broadway theater.Rich's parents were avid theatergoers, and in happier times they would listen to the brand-new recordings of South Pacific, Damn Yankees, and The Pajama Game over and over in their living room. When his mother's remarriage brought about turbulent changes, Rich took refuge in these same records, re-creating the shows in his imagination, scene by scene. He started collecting Playbills, studied fanatically the theater listings in The New York Times and Variety, and cut out ads to create his own miniature marquees. He never imagined that one day he would be the Times's chief theater critic.Eventually Rich found a second home at Wash-ington's National Theatre, where as a teenager he was a ticket-taker and was introduced not only to the backstage magic he had dreamed of for so long but to a real-life cast of charismatic and eccentric players who would become his mentors and friends. With humor and eloquence, Rich tells the triumphant story of how the aspirations of a stagestruck young boy became a lifeline, propelling him toward the itinerant family of theater, whose romantic denizens welcomed him into the colorful fringes of Broadway during its last glamorous era.Every once in a while, a grand spectacle comes along that introduces its audiences to characters and scenes that will resound in their memories long after the curtain has gone down. Ghost Light, Frank Rich's beautifully crafted childhood memoir, is just such an event.

The unique story of Martha Raye and her military experience.

A new edition of the classic book for actors starting their careers, with new materialFew actors have ever been more eloquent, more honest, or more entertaining about their life and their profession than Simon Callow, one of the finest actors of his time and increasingly one of the most admired writers about the theater.Beginning with the letter to Laurence Olivier that produced his first theatrical job to his triumph as Mozart in the original production of Amadeus, Callow takes us with him on his progress through England’s rich and demanding theater: his training at London’s famed Drama Centre, his grim and glorious apprenticeship in the provincial theater, his breakthrough at the Joint Stock Company, and then success at Olivier’s National Theatre are among the way stations.Callow provides a guide not only to the actor’s profession but also to the intricacies of his art, from unemployment—“the primeval slime from which all actors emerge and to which, inevitably, they return”—to the last night of a long run.