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Performing Arts
Jessica Hopper's criticism is a trenchant and necessary counterpoint not just on music, but on our culture at large. --Annie Clark, St. Vincent
An acclaimed, career-spanning collection from a fiercely feminist and revered contemporary rock critic, reissued with new material
Throughout her career, spanning more than two decades, Jessica Hopper, a revered and pioneering music critic, has examined women recording and producing music, in all genres, through an intersectional feminist lens. The First Collection of Criticism by a Living Female Rock Critic features oral histories of bands like Hole and Sleater Kinney, interviews with the women editors of 1970s-era Rolling Stone, and intimate conversations with iconic musicians such as Björk, Robyn, and Lido Pimienta. Hopper journeys through the truths of Riot Grrrl's empowering insurgence; decamps to Gary, Indiana, on the eve of Michael Jackson's death; explodes the grunge-era mythologies of Nirvana and Courtney Love; and examines the rise of emo. The collection also includes profiles and reviews of some of the most-loved, and most-loathed, women artists making music today: Fiona Apple, Kacey Musgraves, M.I.A., Miley Cyrus, Lana Del Rey.
In order for the music industry to change, Hopper writes, we need “the continual presence of radicalized women . . . being encouraged and given reasons to stay, rather than diminished by the music which glues our communities together.” The First Collection of Criticism by a Living Female Rock Critic―published to acclaim in 2015, and reissued now with new material and an introduction by Samantha Irby―is a rallying cry for women-centered history and storytelling, and a groundbreaking, obsessive, razor-sharp panorama of music writing crafted by one of the most influential critics of her generation.
This book charts the personal and professional journey of Greg Doran, Artistic Director of the Royal Shakespeare Company from 2012 until 2022 and "one of the great Shakespearians of his generation" (Sunday Times).
During his illustrious career, Doran has directed or produced all of the plays within Shakespeare's First Folio -- a milestone reached in the same year that the world celebrates the 400th anniversary of its original publication. Each chapter looks at a different play, considering the choices made and weaving in both autobiographical detail and background on the RSC, as well as giving insights into key collaborations, including those with actors such as Judi Dench, David Tennant, Harriet Walter, Patrick Stewart, Simon Russell Beale, Paterson Joseph and Doran's husband, the late Antony Sher, as well as seminal practitioners such as Cicely Berry, John Barton and Terry Hands. The book also includes 16 striking pages with stills from some of the RSC plays. Through Doran's account of this extraordinary journey, we see how Henry VIII, initially regarded as a poisoned chalice, became his lucky break; how the tragedy of 9/11 unfolded during a matinee of King John and how the language of the play went some way in helping to articulate the unfathomable; how a RSC supporter bequeathed their skull to the company to be used as Yorick in Hamlet; how meeting Nelson Mandela inspired the production of Julius Caesar; how Falstaff was introduced to China for the very first time; and how arachnophobia informed the production of Macbeth. This book uniquely captures the excitement, energy, surprises, joys and agonies of working on these greatest of plays; sheds new light on these plays through Doran's own research and discoveries made in the rehearsal room; and gives unprecedented access into the craft, life and loves of this exceptional director.*signed copies available*
During the past thirty years, Native American dance has emerged as a visible force on concert stages throughout North America. In this first major study of contemporary Native American dance, Jacqueline Shea Murphy shows how these performances are at once diverse and connected by common influences.
Demonstrating the complex relationship between Native and modern dance choreography, Shea Murphy delves first into U.S. and Canadian federal policies toward Native performance from the late nineteenth through the early twentieth centuries, revealing the ways in which government sought to curtail authentic ceremonial dancing while actually encouraging staged spectacles, such as those in Buffalo Bill's Wild West shows. She then engages the innovative work of Ted Shawn, Lester Horton, and Martha Graham, highlighting the influence of Native American dance on modern dance in the twentieth century. Shea Murphy moves on to discuss contemporary concert dance initiatives, including Canada's Aboriginal Dance Program and the American Indian Dance Theatre.
Illustrating how Native dance enacts, rather than represents, cultural connections to land, ancestors, and animals, as well as spiritual and political concerns, Shea Murphy challenges stereotypes about American Indian dance and offers new ways of recognizing the agency of bodies on stage.
Jacqueline Shea Murphy is associate professor of dance studies at the University of California, Riverside, and coeditor of Bodies of the Text: Dance as Theory, Literature as Dance.