Sandra Shamas is the brilliant comedic storyteller whose new one-woman show, Wit’s End, is being toured across Canada. A Trilogy of Performances, nominated for the Governor General’s Award for Drama and for the Stephen Leacock Memorial Award for Humour, collects Sandra Shamas’ three hit comedy shows: My Boyfriend’s Back and There’s Gonna Be Laundry; My Boyfriend’s Back and There’s Gonna Be Laundry II; and Wedding Bell Hell.

Aging, generational conflict and mortality are the themes of The Queue, a novella and Warriors, a trilogy of plays. Set in the not-too-distant future, The Queue describes the horrors faced by citizens of advanced age when they are forced by a planetary leader into a seemingly endless line toward an unknown destination. Joining the queue to assist his parents, a middle-aged narrator describes the ordeals that he and his companions endure over a challenging 40 days. In a trilogy of absurdist drama, Warriors offers three humorist takes on aging, each of them grappling with end-of-life scenarios.

Francis Tiain-Steel's original play collection that was first started in 1998 and finished in 2000. The idea came in 1995 before University that when getting a mental illness at University, he had the idea to write it as life is short. So here it is. So enjoy.

Award-winning photographer McAdams began covering the performance front for the Village Voice in 1984. This collection gives us an exhilarating, front-row-center look at multimedia performance art as captured in her exuberant black-and-white photographs. The oversize (9.25x12.25) documentary also

Discussing some of the pivotal questions relating to the complementary fields of theatre and performance studies, this engaging, easy-to-use text is undoubtedly a perfect reference guide for the keen student and passionate theatre-goer alike.

On September 11, 1844, Henry Lehman arrived in New York City on a boat from Germany. Soon after, he moved to Montgomery, Alabama, where he and his brother Emanuel established a modest cotton brokering firm that would come to be called Lehman Brothers. On September 15, 2008, Dick Fuld, the last CEO of Lehman Brothers, filed for corporate bankruptcy amid one of the worst financial crises in American history. After 164 years, one of the largest and most respected investment banks in the world was gone, leaving everyone wondering, "How could this have happened?" Peter Chapman, an editor and writer for The Financial Times, answers this question by exploring the complete history of Lehman Brothers between those two historic Septembers. He takes us back to its early days as a cotton broker in Alabama, and then to its glory days as one of the leading corporate financiers in America. He also provides an intimate portrait of the people who ran Lehman over the decades-from Henry Lehman, the founder, to Bobbie Lehman, who led the company into the world of radio, motion pictures, and air travel in first part of the 20th century, to Dick Fuld, who allowed it to morph into a dealer of shoddy securities. Throughout his account of this imperiously rich firm, Chapman examines the impact Lehman Brothers had not only on American finance but also on American life. As a major backer of companies like Pan American Airlines, Macy's, and RKO, Lehman helped lead the country into major new industries and helped support some of its most intrepid entrepreneurs. He then shows how, starting in the 1980s, Lehman's increased focus on short-term gain investments led the firm down the dangerous path that would eventually lead to its demise. In the end, the story of Lehman Brothers is not only the story of a truly important American company but a cautionary tale of what happens when leaders lose sight of their core mission in their quest for something too good to be true. Praise for The Last of the Imperious Rich: "Thought provoking and illuminating" - The New York Times "Chapman has succeeded in holding up a mirror to America's past - and what its future might hold" - Bloomberg

This cogent and provocative compilation of essays is now a classic text for students of the emergent discipline of performance studies.

"Jill Dolan is the theatre's most astute critic, and this new book is perhaps her most important. Utopia in Performance argues with eloquence and insight how theatre makes a difference, and in the process demonstrates that scholarship matters, too. It is a book that readers will cherish and hold close as a personal favorite, and that scholars will cite for years to come." ---David Román, University of Southern California What is it about performance that draws people to sit and listen attentively in a theater, hoping to be moved and provoked, challenged and comforted? In Utopia in Performance, Jill Dolan traces the sense of visceral, emotional, and social connection that we experience at such times, connections that allow us to feel for a moment not what a better world might look like, but what it might feel like, and how that hopeful utopic sentiment might become motivation for social change. She traces these "utopian performatives" in a range of performances, including the solo performances of feminist artists Holly Hughes, Deb Margolin, and Peggy Shaw; multicharacter solo performances by Lily Tomlin, Danny Hoch, and Anna Deavere Smith; the slam poetry event Def Poetry Jam; The Laramie Project; Blanket, a performance by postmodern choreographer Ann Carlson; Metamorphoses by Mary Zimmerman; and Deborah Warner's production of Medea starring Fiona Shaw. While the book richly captures moments of "feeling utopia" found within specific performances, it also celebrates the broad potential that performance has to provide a forum for being human together; for feeling love, hope, and commonality in particular and historical (rather than universal and transcendent) ways.