"Don't look at them, look at me," a peacock seemed to be saying as he posed magnificently between the audience and the Shakespearean play being performed by Theatre Set-Up in the open air at Trevarno, Cornwall, effectively upstaging it. "I am really worth looking at!" Fed up with the noise that was disturbing his rest in the tree above the play, his was a deliberate attempt to stop it. Often though, the interference of creatures in the company's performances was accidental... "It is dreadful thing to see the wig that transforms your character being carted off by a fox!" cried an actress as she watched a fox race off with the red wig she had set in the open-air stage right changing area of Wollaton Hall, Nottingham. Evidently he had rescued the wig from this improvised theatre arena, mistaking it for one of his cubs! This was typical of the chaos that birds, bats, cats, dogs, sheep and horses could make of open-air performances in heritage sites. Add to that the confusion that rain, storms, wind and hot sun could add to the experience and an element of adventure unknown in regular indoor venues prevailed. This book tells the anecdotes of these adventures in this kind of theatre experienced by the international, professional Theatre Set-Up company (see www.ts-u.co.uk), which survived the vicissitudes of touring mostly open-air performances of Shakespeare in heritage sites from 1976 to 2011, performing throughout the UK from 1979 and in mainland Europe from 1993. Venues and gear of the company were transferred to The Festival Players in 2011. Its tours in 1979, 1980 and 1981 pioneered the genre, a species of theatre which has since then proliferated, providing many actors with paid employment and heritage sites with performances of plays presented conveniently with the minimum of fuss, cost and accoutrements. The companies bravely performing in this kind of theatre all experience the kinds of incidents recorded in this book, which salutes their courage and determination to "Carry on Regardless"! About the Author: Dr Wendy Jean Macphee was a teacher and lecturer in English, drama and music from 1960 to 2012 and was founder, administrator, artistic director, actor and musician for Theatre Set-Up. She now writes books (see Secret Meanings in Shakespeare Applied to Stage Performance, www.wjm-travelogue.net and www.wjm-pyramid.uk).

With previously unpublished photographs documenting the period's industrial and mineral railways scene.

The materials crowded into the earlier chapters mark out the stories connected with the fairies, whether of the lakes or of the dry land, as the richest lode to be exploited in the mine of Celtic folklore. That work is attempted in the later chapters; and the analysis of what may briefly be described as the fairy lore given in the earlier ones carries with it the means of forcing the conviction, that the complex group of ideas identified with the little people is of more origins than one; in other words, that it is drawn partly from history and fact, and partly from the world of imagination and myth. The latter element proves on examination to be inseparably connected with certain ancient beliefs in divinities and demons associated, for instance, with lakes, rivers, and floods. Accordingly, this aspect of fairy lore has been dealt with in chapters vi and vii: the former is devoted largely to the materials themselves, while the latter brings the argument to a conclusion as to the intimate connexion of the fairies with the water-world. Then comes the turn of the other kind of origin to be discussed, namely, that which postulates the historical existence of the fairies as a real race on which have been lavishly superinduced various impossible attributes. This opens up a considerable vista into the early ethnology of these islands, and it involves a variety of questions bearing on the fortunes here of other races. In the series which suggests itself the fairies come first as the oldest and lowest people: then comes that which I venture to call Pictish, possessed of a higher civilization and of warlike instincts. Next come the earlier Celts of the Goidelic branch, the traces, linguistic and other, of whose presence in Wales have demanded repeated notice; and last of all come the other Celts, the linguistic [xii]ancestors of the Welsh and all the other speakers of Brythonic. The development of these theses, as far as folklore supplies materials, occupies practically the remaining five chapters. Among the subsidiary questions raised may be instanced those of magic and the origin of druidism; not to mention a neglected aspect of the Arthurian legend, the intimate association of the Arthur of Welsh folklore and tradition with Snowdon, and Arthur’s attitude towards the Goidelic population in his time.

This stunning selection of color views, dating from the period 1953-1980, includes most of the vessels operated during this period by the Isle of Man Steam Packet Company and The Ramsey Steamship Company. Passenger boats and freighters are seen at ports on the island and on the mainland. There is comprehensive coverage of the Peel, Ramsey and Port Erin lines operated by the Isle of Man Railway with some outstanding views taken during the 1950s, together with excellent portraits of most of the locomotives, as well carriages, vans, wagons, lorries, stations, staff and signal boxes. Also covered are Douglas Station and its environs, St John's junction and the Sunday 'specials' to Braddan. Many of the rich mix of bus types operated by the railway subsidiary, Isle of Man Road Services, are seen in a variety of locations. Included are some of the vehicles delivered just before and shortly after the Second World War. There are good views of the fascinating Ramsey Pier Tramway and its unusual rolling stock, as well as rare scenes taken as early as 1953 on the Groudle Glen Railway. For anyone who loves the Isle of Man and its wealth of vintage transport, this book provides a remarkable trip down memory lane and a colorful reminder of some of its lost glories. The book is dedicated to the memory of John McCann who took brilliant color views on the island starting in 1953.