My books can be purchased as e-books for only $1.99. If interested, just click here: Books.
Match Play is a golf/suspense novel. Dust of Autumn is a bloody one set in upstate New York. Prairie View is set in South Dakota, with a final scene atop Rattlesnake Butte. Life in the Arbor is a children's book about Rollie Rabbit and his friends (on about a fourth grade level). The Black Widow involves an elaborate extortion scheme. Doggy-Dog World is my memoir. And ES3 is a description of my method for examining English sentence structure.
In case anyone is interested in any of my past posts, an archive list can be found at the bottom of this page.
My newest novel, Happy Valley, can be found here.
Wednesday, June 12
Tonys & Into the Woods
And while I’m on the subject of Broadway musicals, last night we went to the Arizona Broadway Theatre to see our local rendering of Into the Woods, book by James Lapine, music by—who else?—Stephen Sondheim. Into the Woods is perhaps my favorite musical. Before I retired, I used a video of it to teach my English students about staging, set design, and theatrical tricks of the stage trade. The set design of Woods in one of the most complicated ever, and I wondered how our ABT would be able to handle the triple sets and story lines of the opening number—Cinderella, Jack and the Beanstalk, and the Baker and His Wife—handle the setting in the woods with characters from the seven different story lines all crisscrossing in and out and around the large tree in the center, handle the foot-crunching noises of the giants that came down Jack’s beanstalk, create the many costumes and props needed (Milky the cow, the Witch’s magic cane, the horse that carried Cinderella to the castle for her wedding;, the scrim used for grandmother’s house with the wolf gobbling up both Granny and Red Riding Hood). All of it—the staging, the set design, the lighting, the costumes, the props—were done as professionally and as well as the original Broadway production. And the voices were all excellent, requiring ten actors with big voices to handle Sondheim’s near-operatic score. Wow! I think I’d like to see it again. And again.
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