Former President of the Criminal Bar Association Richard Levitt called Goldberg “one of the foremost litigators of this or any generation.” Former Chief of the Criminal Division of the United States Attorney's Office S.D.N.Y. Frederick Hafetz said: “I consider you to have the best killer trial skills I have ever seen in my 47 years of practice, and I have worked with the best, courtroom presence, capturing the jury's attention through devastating cross and summations that have jurors on the edge of their seats.” New York Supreme Court Justice Arthur Lonschein said: “[Jay Goldberg] holds the distinction of being one of the most skilled, if not the most skilled trial lawyer in the United States.” In The Courtroom Is My Theater, Jay Goldberg shows why he is one of the preeminent trial attorneys in America, as he shares stories of his high-profile courtroom drama as well as his adventures outside of the courtroom with some of the country’s most prominent politicians, businessmen, entertainers, and “men of honor.”

In this new, third edition of Theater Tips and Strategies for Jury Trials, David Ball updates his methods and approaches to jury persuasion. This practical step-by-step guide helps you navigate the changes that occur in jury trials instead of being blindsided by them. Based on both research and the experience of lawyers and trial consultants across the country, Theater Tips and Strategies for Jury Trials, Third Edition, presents techniques of the stage and screen you can use to win in the courtroom. Ball tells how to use theater concepts to persuade and motivate jurors. He tells attorneys how to look, talk, and act naturally, and to communicate the truth clearly and memorably, so they gain trust and credibility from judges and jurors. Ball provides practical guidance for voir dire, openings and closings, testimony, and focus groups. He describes what practitioners can learn from actors about their manner, voice projection, and behavior. He explains how to grab the jury from the beginningjust as a good movie opening captures the audience. He details how to prepare your {28}cast.

"Theaters of Justice is an important and highly readable in-depth study of post-war legal and literary events that continue to exert their influence on the contemporary understanding of justice and historical truth."---Ulrich Baer, New York University --

One man’s journey through the practice of law with some of the world’s most powerful and colorful characters, including Donald Trump, Robert F. Kennedy, Willie Nelson, Miles Davis and Armand Hammer. Former President of the Criminal Bar Association Richard Levitt called Goldberg “one of the foremost litigators of this or any generation.” Former Chief of the Criminal Division of the United States Attorney's Office S.D.N.Y. Frederick Hafetz said: “I consider you to have the best killer trial skills I have ever seen in my 47 years of practice, and I have worked with the best, courtroom presence, capturing the jury's attention through devastating cross and summations that have jurors on the edge of their seats.” New York Supreme Court Justice Arthur Lonschein said: “[Jay Goldberg] holds the distinction of being one of the most skilled, if not the most skilled trial lawyer in the United States.” In The Courtroom Is My Theater, Jay Goldberg shows why he is one of the preeminent trial attorneys in America, as he shares stories of his high-profile courtroom drama as well as his adventures outside of the courtroom with some of the country’s most prominent politicians, businessmen, entertainers, and “men of honor.”

Comedy Characters: flexible cast of 12-28 males & Females (doubling possible) This extremely adaptable comedy shows the other side of several familiar fairy tales when two of their biggest villains, the Big Bad Wolf and the Wicked Witch, are brought to trial. Both the Wolf and the Witch have been frolicking from fairy tale to fairy tale wreaking havoc as they try to prevent the general public from living happily ever after. Hear the personal accounts of what happened, told in testimonies and

A classic work of American theatre, based on the Scopes Monkey Trial of 1925, which pitted Clarence Darrow against William Jennings Bryan in defense of a schoolteacher accused of teaching the theory of evolution The accused was a slight, frightened man who had deliberately broken the law. His trial was a Roman circus. The chief gladiators were two great legal giants of the century. Like two bull elephants locked in mortal combat, they bellowed and roared imprecations and abuse. The spectators sat uneasily in the sweltering heat with murder in their hearts, barely able to restrain themselves. At stake was the freedom of every American. One of the most moving and meaningful plays of our generation. Praise for Inherit the Wind "A tidal wave of a drama."—New York World-Telegram And Sun “Jerome Lawrence and Robert E. Lee were classic Broadway scribes who knew how to crank out serious plays for thinking Americans. . . . Inherit the Wind is a perpetually prescient courtroom battle over the legality of teaching evolution. . . . We’re still arguing this case–all the way to the White House.”—Chicago Tribune “Powerful . . . a crackling good courtroom play . . . [that] provides two of the juiciest roles in American theater.”—Copley News Service “[This] historical drama . . . deserves respect.”—The Columbus Dispatch

In Theater for Trial, David Ball and Joshua Karton use their extensive professional theater experience to give you practical exercises and strategies for connecting yourself, your case, and your witnesses with the jury. They provide tools available to any attorney—such as voice, presentation, and story structure—and show how to empower juries to take responsibility for righting a wrong. This book teaches you how to turn every trial into a powerful production that authentically calls forth your best asset: the simple truth, clearly and effectively communicated. Ball and Karton also teach you how to arm jurors to fight for you in deliberations. They offer techniques to improve how you prepare witnesses, create exhibits, present your client, select jurors, and conduct yourself in ways that frame the facts and the law to best engage your audience: the jury. Ball and Karton combine decades of intensive trial experience with cases from the smallest counties to the halls of the Supreme Court, with lessons from the stage and screen to optimize every moment you’re in trial.

"Hosts of all kinds, this is a must-read!" --Chris Anderson, owner and curator of TED From the host of the New York Times podcast Together Apart, an exciting new approach to how we gather that will transform the ways we spend our time together—at home, at work, in our communities, and beyond. In The Art of Gathering, Priya Parker argues that the gatherings in our lives are lackluster and unproductive--which they don't have to be. We rely too much on routine and the conventions of gatherings when we should focus on distinctiveness and the people involved. At a time when coming together is more important than ever, Parker sets forth a human-centered approach to gathering that will help everyone create meaningful, memorable experiences, large and small, for work and for play. Drawing on her expertise as a facilitator of high-powered gatherings around the world, Parker takes us inside events of all kinds to show what works, what doesn't, and why. She investigates a wide array of gatherings--conferences, meetings, a courtroom, a flash-mob party, an Arab-Israeli summer camp--and explains how simple, specific changes can invigorate any group experience. The result is a book that's both journey and guide, full of exciting ideas with real-world applications. The Art of Gathering will forever alter the way you look at your next meeting, industry conference, dinner party, and backyard barbecue--and how you host and attend them.

THE STORY: In early 1895, the Marquess of Queensberry, the father of Wilde's young lover, Lord Alfred Douglas, left a card at Wilde's club bearing the phrase posing somdomite. Wilde sued the Marquess for criminal libel. The defense denounced Wild

Tirades against legal theatrics are nearly as old as law itself, and yet so is the age-old claim that law must not merely be done: it must be "seen to be done." Law as Performance traces the history of legal performance and spectatorship through the early modern period. Viewing law as the product not merely of edicts or doctrines but of expressive action, it investigates the performances that literally created law: in civic arenas, courtrooms, judges' chambers, marketplaces, scaffolds, and streets. It examines the legal codes, learned treatises, trial reports, lawyers' manuals, execution narratives, rhetoric books, images (and more) that confronted these performances, praising their virtues or denouncing their evils. In so doing, it recovers a long, rich, and largely overlooked tradition of jurisprudential thought about law as a performance practice. This tradition not only generated an elaborate poetics and politics of legal performance. It provided western jurisprudence with a set of constitutive norms that, in working to distinguish law from theatrics, defined the very nature of law. In the crucial opposition between law and theatre, law stood for cool deliberation, by-the-book rules, and sovereign discipline. Theatre stood for deceptive artifice, entertainment, histrionics, melodrama. And yet legal performance, even at its most theatrical, also appeared fundamental to law's realization: a central mechanism for shaping legal subjects, key to persuasion, essential to deterrence, indispensable to law's power, --as it still does today.