The entertaining tale of Robert Barnet (1853-1933) and the enormously popular musicals he produced as fundraisers for a volunteer militia group in Boston.

Beautiful is a biography of Julian Eltinge, a female impersonator and major cultural figure who has been appropriated as, variously, a gay icon, a highly-closeted turncoat, and a emblem of an era when many of our contemporary ideas about sex and gender were just beginning to take shape.

Ethan Mordden has been hailed as "a sharp-eared listener and a discerning critic," by Opera News, which compares his books to "dinner with a knowledgeable, garrulous companion." The "preeminent historian of the American musical" (New York Times), he "brings boundless energy and enthusiasm buttressed by an arsenal of smart anecdotes" (Wall Street Journal). Now Mordden offers an entirely fresh and infectiously delightful history of American musical theatre. Anything Goes stages a grand revue of the musical from the 1700s through to the present day, narrated in Mordden's famously witty, scholarly, and conversational style. He places us in a bare rehearsal room as the cast of Oklahoma! changes history by psychoanalyzing the plot in the greatest of the musical's many Dream Ballets. And he gives us tickets for orchestra seats on opening night-raising the curtain on the pleasures of Victor Herbert's The Red Mill and the thrill of Porgy and Bess. Mordden examines the music, of course, but also more neglected elements. Dance was once considered as crucial as song; he follows it from the nineteenth century's zany hoofing to tap "combinations" of the 1920s, from the injection of ballet and modern dance in the 1930s and '40s to the innovations of Bob Fosse. He also explores the changing structure of musical comedy and operetta, and the evolution of the role of the star. Fred Stone, the avuncular Scarecrow in the Wizard of Oz, seldom varied his acting from part to part; but the versatile Ethel Merman turned the headlining role inside out in Gypsy, playing a character who was selfish, fierce, and destructive. From "ballad opera" to burlesque, from Fiddler on the Roof to Rent, the history and lore of the musical unfolds here in a performance worthy of a standing ovation.

Sixteen-year-old Louisa Softly is not used to anything exciting happening to her or in the fragrant land of Roseberry. Still, she cannot shake the feeling she is being watched. But with an official unicorn naming party to plan, Louisa shrugs off her uneasiness and hopes she is worrying about nothing. It is not an easy task naming a unicorn. Louisa knows she cannot give him just any old name. It has to be perfect. After she finally settles on Twilight and announces it to her family and friends, Louisa and her unicorn immediately form a tight bond. But when she discovers a book that holds certain truths, Louisa is led down a mysterious path where secrets are revealed. Now she and Twilight must combine their talents and gifts to save the beautiful Fairywood from a horrifying fate. In this delightful tale for all ages, a teenager must learn to rely on her instincts and intuition after she embarks on a dangerous journey with her unicorn to fulfill her destiny.

Winston Churchill is handed down the generations, reinvented in the process to suit current controversies. He has been many things: presently a talisman of the political right, a war-hero of conservative outlook who saved his country; on the left, he is a reactionary imperialist, a warmongering oppressor of the workers. Both sides would be surprised by a time trip to the sensation-filled years of 1910 and 1911. They would find a modernist progressive, cordially loathed by the Tories, carrying through programs of social reform and making the prison system more humane: declaring to Parliament that even convicted offenders have rights and that how a state treats them determines the level of its civilisation. A long-serving Permanent Under-Secretary at the Home Office reckoned that Churchill’s policies (which his successors continued) halved the prison population. During the last third of the twentieth century and into the next, rehabilitation has gone into reverse. Prison numbers have soared, as the punitive approach has reasserted itself, now laced with political populism. This book looks at that story in the context of the paradoxical career of Churchill the Liberal Reformer.