The Lion King debuted on July 8, 1997 at the Orpheum Theatre in Minneapolis and was an instant success before premiering at the New Amsterdam Theatre on November 13, 1997. It is Broadway's highest grossing production of all time, having grossed more than $1 billion. The show won six 1998 Tony Awards, including Best Musical and Best Direction of a Musical, making Julie Taymor the first woman in theatrical history bestowed with the honor. In this updated redesigned edition of her book originally published in 1998. Taymor has a chance to reflect on her 20-year journey with this beloved show. Featuring all of the original behind-the-scenes text and imagery photographed during the building of sets and rehearsals and costume creation, Pride Rock on Broadway is an important volume for theater fans, Disney fans, and Taymor fans alike.

“One of the best literary works of this year” (Miami Herald-Tribune): The true story of a theatrical dream—or nightmare—come true…the making of the Spider-Man musical. As you might imagine, writing a Broadway musical has its challenges. But it turns out there are challenges one can’t begin to imagine when collaborating with two rock legends and a superstar director to stage the biggest, most expensive production in theater history. Renowned director Julie Taymor picked playwright Glen Berger to cowrite the book for a $25 million Spider-Man musical. Together—along with U2’s Bono and Edge—they would shape a work that was technically daring and emotionally profound, with a story fueled by the hero’s quest for love…and the villains’ quest for revenge. Or at least, that’s what they’d hoped for. But when charismatic producer Tony Adams died suddenly, the show began to lose its footing. Soon the budget was ballooning, financing was evaporating, and producers were jumping ship or getting demoted. And then came the injuries. And then came word-of-mouth about the show itself. What followed was a pageant of foul-ups, falling-outs, ever-more harrowing mishaps, and a whole lot of malfunctioning spider legs. This “circus-rock-and-roll-drama,” with its $65 million price tag, had become more of a spectacle than its creators ever wished for. During the show’s unprecedented seven months of previews, the company’s struggles to reach opening night inspired breathless tabloid coverage and garnered international notoriety. Through it all, Berger observed the chaos with his signature mix of big ambition and self-deprecating humor.

This mesmerizing retelling of Shakespeare's comic tragedy Titus Andronicus is as visually stunning as it is theatrically charged. For Taymor, the play "not only reflects dark events but turns them inside out, probing and challenging our fundamental beliefs on morality and justice." With the film, this uniquely talented director has transformed a largely overlooked lesser work of the great bard into a powerful, daring exploration of the contemporary human condition.

National Sylvan Theatre, Washington Monument grounds, The Community Center and Playgrounds Department and the Office of National Capital Parks present the ninth summer festival program of the 1941 season, the Washington Players in William Shakespeare's "A Midsummer Night's Dream," produced by Bess Davis Schreiner, directed by Denis E. Connell, the music by Mendelssohn is played by the Washington Civic Orchestra conducted by Jean Manganaro, the setting and lights Harold Snyder, costumes Mary Davis.

Winner of the 2007 National Book Critics Circle Award for Criticism A New York Times Book Review Top Ten Book of the Year Time magazine Top Ten Nonfiction Book of 2007 Newsweek Favorite Books of 2007 A Washington Post Book World Best Book of 2007 In this sweeping and dramatic narrative, Alex Ross, music critic for The New Yorker, weaves together the histories of the twentieth century and its music, from Vienna before the First World War to Paris in the twenties; from Hitler's Germany and Stalin's Russia to downtown New York in the sixties and seventies up to the present. Taking readers into the labyrinth of modern style, Ross draws revelatory connections between the century's most influential composers and the wider culture. The Rest Is Noise is an astonishing history of the twentieth century as told through its music.

A Critical Companion to Julie Taymor is the most updated and holistic volume on the director currently published. Situating Taymor’s work within the intersections of story and spectacle, contributors to this collection examine issues of creativity, gender, sexuality, and adaptation by focusing on themes from Taymor’s oeuvre including martyrdom, musicality, fidelity, postmodern representations, feminism and queerness, identity, desire, trauma, revenge, hybridity, and obscenity. The result reveals Julie Taymor to be a globally-influenced American director who exhibits and exemplifies the authentic artistry of ingenious storytelling and deserves scholarly attention. This work will be of particular interest to scholars of film, philosophy, popular culture, gender, feminisms, and queer identities.

Views on intercultural exchanges within theatre practice from contributors including: Peter Brook, Clive Barker, Jacques Lecoq and Rustom Bharucha.

Interweaving the majestic costumes and puppetry of the live Broadway performance with the stirring lyrics of "The Circle of Life", this board book shares with readers young and old the ancient mystery of life's greatest adventure. Gorgeous photographs from the theatrical performance bring to life the simple words.

Shows Tsypin's works for the most important opera houses in the world, from New York's Metropolitan Opera to Milan's La Scala to Saint Petersburg's Mariinsky Theater. The book also features work outside of opera, including the MTV Video Music Awards, the Russian Pavilion for the Venice Biennale, and the Millennium Cities project for Doncaster, England.