A body in the theatre. A cast full of suspects. Can Maisie Cooper crack this case? Maisie Cooper is looking for peace and quiet. But the arrival of a troupe of actors for a new production at the local theatre turn her best laid plans upside down. Among them is the young French actress, Adélaïde Amour, who appeals to Maisie for help as she struggles to prepare for her new role. As opening night approaches, a terrible crime is committed, and a body is found concealed behind the scenes in the theatre. Can Maisie unravel a real-life plot worthy of a great play? Or will the killer strike again? A totally addictive British cosy murder mystery, perfect to enjoy with a cup of tea and a slice of cake. Perfect for fans of The Thursday Murder Club, Janice Hallett and Midsomer Murders. Readers are gripped by the Maisie Cooper Mysteries: 'Maisie Cooper is a brilliant main character, an everyday Miss Marple!... I love cosy crime and I loved this book!' Reader review ⭐⭐⭐⭐⭐ 'Fabulous, full of wit, mystery, romance and small town politics... The characters are witty, quirky... The plot is twisty and engaging with lots of red herrings' Reader review ⭐⭐⭐⭐⭐ 'I loved the way that I was pulled into the mystery... I found myself constantly looking for potential clues which made it feel like a real puzzle to get stuck into. I had a lot of fun reading this book' Reader review ⭐⭐⭐⭐⭐ 'Mixes classic whodunnit with cozy mystery elements... Kept me guessing... I thoroughly enjoyed it' Reader review ⭐⭐⭐⭐⭐

It was a sad generation that limped past 1865. Almost every family had been touched by death, and many had been torn apart as sons, brothers, and fathers chose different sides in the Civil War. Murder at Fords Theatre is a history of an assassination with the Civil War as its tragic backdrop and with characters to match this tragedy. There was Lewis Paine, the devoted follower and David Herold who wanted desperately to belong and lose his reputation as an untrustworthy loafer. There are tragic failures of Mary Surratt and Dr. Samuel Mudd, as well as Abraham Lincoln, unappreciated by the public until his martyrdom. Lincoln refused security and put himself in harms way. Harm came in the form of John Wilkes Booth, an acclaimed actor, who wanted to save his beloved South and believed there was only one way to accomplish his goal. Booth had grown up with his own demons--depression and odd behavior were part of his family background. His darker side was hate. When the war broke out, Booth took up the southern cause -- the rest of the family sided with the North. Lincoln was a perfect object for Booths hatred. He suspended Habeas Corpus, put many anti-war advocates in jail, continued the war with its grisly pile of human deaths, refused to negotiate a treaty, and wrote Emancipation Proclamation. Booth, who had spent the war in a noncombat position at the behest of his mother, received news of the end of the war with increased anger. Soon it would be too late to become a hero. His hasty and disorganized plan to assassinate Lincoln went awry. Booth did shoot Lincoln, but during his escape he broke his ankle, an injury that slowed him and led to his capture and death. Only the Bible has been written about more than the Civil War, and the assassination of Lincoln is a part of that story. This is that story.

Tranquility, New Jersey’s amateur drama troupe is staging a murder mystery at St. Winifred’s Academy and Alberta Scaglione couldn’t be more thrilled. Even her Italian-American famiglia are getting in on the act. But someone’s making deadly revisions to the script . . . Alberta can hardly believe it. Her childhood screen idol, 1950s Hollywood starlet Missy Michaels, has signed up for the local Tranquility Players revival of the classic Arsenic and Old Lace. But before Missy memorizes a single line, she’s found dead in her dressing room wrapped in lace and clutching a bottle of arsenic. The ultimate drama-queen suicide? Everyone thinks so—except Alberta. A Ferrara woman knows murder when she sees it. Alberta also knows producer Nola Kirkpatrick’s checkered past: whenever she’s around, trouble abounds. Alberta and her crime-reporting partner-in-sleuthing granddaughter, Jinx, have a hunch the murderer is among the Players. So Alberta joins the cast—reluctantly playing Missy’s role—to get closer to the truth. She notices the director is a little unbalanced, but aren’t they all? The leading man is a wildly obsessive Missy Michaels fanboy—but a murderer? Of course, the show must go on. But if Alberta and Jinx can’t nab the killer before opening night, it may mean curtains for more Players . . . including Alberta. Includes Italian recipes from Alberta’s kitchen! “Imagine the Golden Girls starting a detective agency and you’ll get the general idea of J.D. Griffo’s charming Ferrara Family mystery series.” —Criminal Element

The body of Paul Shore toppled onto him, a stream of blood pooling around them on the concrete. Bernard lay back and waited to see if he too was going to die.An undercover agent gone rogue is threatening to shoot a civil servant a day. As panic reigns, the Health Enforcement Team race against time to track him down – before someone turns the gun on them.

Murder comes to Madingley Grange when a game goes horribly wrong. From the creator of the Midsomer Murders series which began with The Killings at Badger's Drift comes a standalone murder mystery novel that will shock you and intrigue you. 'Simply the best detective writers since Agatha Christie' The Sunday Times When a failed entrepreneur is temporarily left in charge of his aunt's huge gothic home, he knows he must be able to make a profit from it somehow. Murder, he decides, is the only way to do it. For Madingley Grange is the perfect venue for a 1930s murder-mystery weekend and Simon Hannaford - with the reluctant help of his long-suffering sister - soon hatches a plan for money-spinning mayhem. From the conservatory to the claret cellar, the clues are carefully sprinkled. But when the guests arrive it is obvious that the game won't be going as planned. Not one of the visitors is willing to play the victim. And when a body does appear, it hardly takes Hercule Poirot to guess it is not a volunteer. Now the game really begins . . .

Why did certain domestic murders fire the Victorian imagination? In her analysis of literary and cultural representations of this phenomenon across genres, Bridget Walsh traces how the perception of the domestic murderer changed across the nineteenth century and suggests ways in which the public appetite for such crimes was representative of wider social concerns. She argues that the portrayal of domestic murder did not signal a consensus of opinion regarding the domestic space, but rather reflected significant discontent with the cultural and social codes of behaviour circulating in society, particularly around issues of gender and class. Examining novels, trial transcripts, medico-legal documents, broadsides, criminal and scientific writing, illustration and, notably, Victorian melodrama, Walsh focuses on the relationship between the domestic sphere, so central to Victorian values, and the desecration of that space by the act of murder. Her book encompasses the gendered representation of domestic murder for both men and women as it tackles crucial questions related to Victorian ideas of nationhood, national health, political and social inequality, newspaper coverage of murder, unstable and contested models of masculinity and the ambivalent portrayal of the female domestic murderer at the fin de siècle.

This addition to the highly successful Contemporary Cultures series covers the period from period 1953, with the death of Stalin, to the present day. Both ‘Russian’ and ‘Culture’ are defined broadly. ‘Russian’ refers to the Soviet Union until 1991 and the Russian Federation after 1991. Given the diversity of the Federation in its ethnic composition and regional characteristics, questions of national, regional, and ethnic identity are given special attention. There is also coverage of Russian-speaking immigrant communities. ‘Culture’ embraces all aspects of culture and lifestyle, high and popular, artistic and material: art, fashion, literature, music, cooking, transport, politics and economics, film, crime – all, and much else, are covered, in order to give a full picture of the Russian way of life and experience throughout the extraordinary changes undergone since the middle of the twentieth century. The Encyclopedia of Contemporary Russian Culture is an unbeatable resource on recent and contemporary Russian culture and history for students, teachers and researchers across the disciplines. Apart from academic libraries, the book will also be a valuable acquisition for public libraries. Entries include cross-references and the larger ones carry short bibliographies. There is a full index.

"Jill Dolan is the theatre's most astute critic, and this new book is perhaps her most important. Utopia in Performance argues with eloquence and insight how theatre makes a difference, and in the process demonstrates that scholarship matters, too. It is a book that readers will cherish and hold close as a personal favorite, and that scholars will cite for years to come." ---David Román, University of Southern California What is it about performance that draws people to sit and listen attentively in a theater, hoping to be moved and provoked, challenged and comforted? In Utopia in Performance, Jill Dolan traces the sense of visceral, emotional, and social connection that we experience at such times, connections that allow us to feel for a moment not what a better world might look like, but what it might feel like, and how that hopeful utopic sentiment might become motivation for social change. She traces these "utopian performatives" in a range of performances, including the solo performances of feminist artists Holly Hughes, Deb Margolin, and Peggy Shaw; multicharacter solo performances by Lily Tomlin, Danny Hoch, and Anna Deavere Smith; the slam poetry event Def Poetry Jam; The Laramie Project; Blanket, a performance by postmodern choreographer Ann Carlson; Metamorphoses by Mary Zimmerman; and Deborah Warner's production of Medea starring Fiona Shaw. While the book richly captures moments of "feeling utopia" found within specific performances, it also celebrates the broad potential that performance has to provide a forum for being human together; for feeling love, hope, and commonality in particular and historical (rather than universal and transcendent) ways.

Over the past thirty years Ariane Mnouchkine's 'Théâtre du Soleil' has become one of the most celebrated companies in Europe, and Mnouchkine one of its best-known directors. Collaborative Theatre is the first in-depth sourcebook in English on 'Théâtre du Soleil', providing English readers with first-hand accounts of the development of its collectivist practices and ideals. Collaborative Theatre presents critical and historical essays by theatre scholars from around the world as well as the writings of and interviews with members of le Théâtre du Soleil, past and present. Projects discussed include: 1789, L'Age d'Or, Richard II, L'Indiade and Les Atriades.

Live theatre was once the main entertainment medium in the United States and the United Kingdom. The preeminent dramatists and actors of the day wrote and performed in numerous plays in which crime was a major plot element. This remains true today, especially with the longest-running shows such as The Phantom of the Opera, Les Miserables and Sweeney Todd. While hundreds of books have been published about crime fiction in film and on television, the topic of stage mysteries has been largely unexplored. Covering productions from the 18th century to the 2013-2014 theatre season, this is the first history of crime plays according to subject matter. More than 20 categories are identified, including whodunits, comic mysteries, courtroom dramas, musicals, crook plays, social issues, Sherlock Holmes, and Agatha Christie. Nearly 900 plays are described, including the reactions of critics and audiences.