The Black Crook, By Charles M. Barras

The Black Crook became a five and a half hour long spectacle that used over 100 performers. Moreover, The Black Crook was the first “book musical”, which means song and dance is fully integrated into the story. The Black Crook created the image that comes to

Over the course of reading The Book Thief, readers will come to know about Markus Zusak’s constant use of descriptive words, figurative language, and character plots throughout the story. In one particular part of the novel, Zusak shows an example of all three of these points to support one of the many central themes he gives us. While Liesel is standing in front of the burnt offerings near the town hall and the square after a Hitler rally, she sees a book underneath all of the hot ash. This moment allows Zusak to go into explicit detail to make a point about the significance of the moment to the reader. In The Book Thief, Zusak uses vocabulary that evokes recklessness and stealthiness, personification about books, and Liesel’s internal

The Book Thief (2013), directed by Brian Percival, is about a young old girl living in Nazi Germany (between 1939 and 1943) in the fictional town of Molching, Germany. Death narrates the story of the main protagonist, Liesel Meminger, beginning when she is nine years old and suffering from the death of her brother and separation from her mother. Liesel then goes to live with Hans and Rosa Hubermann (played by Geoffrey Rush and Emily Watson). When Liesel arrives, she is illiterate and is made fun of in school by the other children. Hans, a painter and accordion player, teaches her how to read, using the book Liesel took from her brother's burial: The Grave Digger's Handbook. Over the course of the movie, Liesel develops a love for reading and decides to steal books because of the economical hardships associated with World War II. Liesel's foster parents also decide to help a young Jewish man named Max, whose father fought with Hans as in World War One as German soldiers. The Book Thief illustrates a different perspective in regards to the Nazi Regimen and its effects on the German people, specifically children.

Throughout history, humanity has had to endure many hardships. To help cope with these misfortune human nature can be observed in the many ways it has evolved in people to help them to withstand the perils that make up a war. In Markus Zusak’s novel The Book Thief, published in 2005, Liesel Meminger must survive the struggles she faces as a result of her life being in the middle of the grips of Nazi Germany. Faced with events like the loss of all her closest loved ones, the Holocaust, discrimination because of her ability to read, and her religion, Liesel’s instincts is forced to develop ways for her to survive. With some help from her new father and the power of word Liesel’s human disposition helps her live through the war. With her

Markus Zusak, the author of The Book Thief, was able to entice his readers by successfully framing the book thief 's story and giving us a better understanding of the book through the use of many color metaphors by the narrator. The prologue is my most beloved part not only because the color metaphors give captivating descriptions of every scene at the beginning of the story. Additionally, in the prologue—the author introduced us to such an “unlikely” narrator, and to the protagonist. Death, who associates the demise of others with the changing “colors of the sky,” and what those colors mean to the story; and the book thief—as a survivor.

It all started with a man named William Wheatley, who was the manager of the very prestigious 3,200 seat venue known as Niblo Garden. He was always on stage as a young boy, so taking over The Garden would keep him out of the spotlight. Little did he know that purchasing the rights to The Black Crook would do the complete opposite. It is said that The Black Crook was actually a terrible show, but Wheatley only helped produce it to keep his theater in business. Apparently, the musical had an absolutely ridiculous plot line and insane characters. It was a bizarre mixture of stolen ideas from well-known shows...I interpreted it as a cross between Dracula and Cinderella. Shockingly, this show sold out almost every single night. It even broke records for being the longest running show, lasting for over 470

In his article, Edwin H. Sutherland examines “white-collar crimes.” Sutherland first starts the article off by defining what exactly is a “crime.” Sutherland goes on to describe and discuss the antitrust laws. Next, he describes the Sherman Antitrust Act, and that it states that any violation of the law is a misdemeanor. Then, he discusses the three methods that are used to enforce the Sherman Antitrust Act. He then goes on to explain the laws regarding infringements of the law. He also discusses the law in regard to financial manipulations. He goes on to discuss the stigma on white-collar crimes and juvenile delinquency. He the discusses the laws for business regulations, and the consequences in violating this laws. Next, he explains the three

Forms of theatre at the the time had became very direct regarding box office receipts. The creating of having big stars in plays had come to being a very substantial business. Producers had also started enhancing their ability of being able to draw the audience in, and also have more plays which had suited the likes of the audience and what they would wanted to feel and see during plays. There where also other people who had praised the theatrical syndicate in the beliefs that the theatrical syndicate had actually saved theatre by maintain and standardizing the bookings. Also Daniel Frohman, which is a brother of one of the men which are in the Theatrical syndicate by the name of Charles Frohman, was very influenced also by the theatrical Syndicate’s movement.

I attended UCLA’s May 11th production of Carousel on a Wednesday night at the Freud Playhouse. Jeremy Mann and Dan Belzer directed the production. The musical opened on April 19th, 1945 (Hauser). Oscar Hammerstein II wrote the book and lyrics, while Richard Rodgers wrote the music in collaboration. In this paper I will expound on the history of Carousel’s writers, it’s historical significance in the world of American theater, as well as the plot of the play and it’s implications on the evolution of theater history.

proportions. Written in 1916, the play deals with the theme of the roles of women in society. This was a

Throughout The Book Thief, the readers are shown how the characters achieve great things through their will to survive. The readers can see from Liesel, Hans, and Max how this is done. Germany in 1934 was hard to survive due to the bombings and fear. The author, Markus Zusak, writes about the Hubermanns hiding a Jew and how they take care of each other. The theme of reaching great things while surviving becomes very clear through the setting, plot, and characters.

“Your new home.” These are words many people never want to hear and Liesel Meminger doesn’t want to hear them either. In the historical fiction book, The Book Thief, by Markus Zusak, the main character is a young girl named Liesel Meminger. During World War 2, it’s bad enough that Liesel and her younger brother, Werner have to move to a foster home far away from everything they have ever known because their mother can’t support them alone, but when her brother dies on the way there, she has to figure out a way to deal with all of this. Liesel has to be courageous, venture to a new home, and eventually help her new family hide a Jew in the heart of Nazi Germany. I believe that you aren’t courageous because you have no fears, but because you have found a way to overcome your fears. So, it’s ok to be afraid, but you become courageous when you conquer your fears.

Whether you drowned in the text in your final year of school, or saw it in that one ‘Simpsons’ episode in 2009, everyone at least, kind of knows the story of that curse’d Scottish Play. Yet, what you might not know is that the hardest part to nail about the play isn’t the language, but instead, the complex themes that run through the story. Throughout this tragic tale, countless characters succumb to the pressures of maintaining their macho-man status, while others use their new-found ‘manliness’ to accomplish unbelievable things. Masculine ambition is a theme that underpins the entire plot and is the unfortunate downfall of many great (and not so great) characters.

The distinction of race in the very first line of the play indicates Branden Jacobs-Jenkins (behind the persona of BJJ) seeks to expose his own experience as a Black man through the context of The Octoroon. Through BJJ, we learn that Jacobs-Jenkins admires Boucicault and his work, but notes that “no one cares about [Boucicault] anymore. He’s dead” (8). Immediately, An Octoroon begins to examine the role of Boucicault in his work and his role in the American theatrical canon at large. The closeness to the audience in these moments contrast directly to Boucicault’s distance in The Octoroon; Jacobs-Jenkins confides in the audience, as he says “You people are my therapy” (9) directly to those watching the action on stage. His confessions alert the audience to the work as a piece of theatre. Jacobs-Jenkins work does not attempt to erase theatricality, unlike Boucicault, who forsakes theatricality for a constructed realism. Because the audience understands the story outside suspension of reality, the text provides a better examination of The Octoroon through modern eyes. As the narrative begins and the prologue closes, the audience possesses an awareness of the original text through the eyes of BJJ. This places the story in a context of critical study and examination from the inception of the adaptation and affects all aspects of dramaturgy

The history of theatre in the 18th, 19th, and 20th centuries is one of the increasing commercialization of the art, accompanied by technological innovations, the introduction of serious critical review, expansion of the subject matters portrayed to include ordinary people, and an emphasis on more natural forms of acting. Theatre, which had been dominated by the church for centuries, and then by the tastes of monarchs for more than 200 years, became accessible to merchants, industrialists, and the less privileged and then the masses.