Four Weddings And A Sixpence

Beloved authors Julia Quinn, Elizabeth Boyle, Laura Lee Guhrke, and Stefanie Sloane deliver the stories of four friends from Mrs. Rochambeaux’s Gentle School for Girls who find an old sixpence in their bedchamber and decide that it will be the lucky coin for each of their weddings . . . “Something Old” Julia Quinn’s prologue introduces her heroine, Beatrice Heywood, and the premise for Four Weddings and a Sixpence. “Something New” In Stefanie Sloane’s unforgettable story, an ever-vigilant guardian decrees that Anne Brabourne must marry by her twenty-first birthday. But love finds her in the most unexpected of ways. “Something Borrowed” Elizabeth Boyle tells the tale of Cordelia Padley, who has invented a betrothed to keep her family from pestering her to wed. Now she’ll need to borrow one to convince them she’s found her true love. “Something Blue” In Laura Lee Guhrke’s story, unlucky Lady Elinor Daventry has her sixpence stolen from her and must convince the rake who pilfered the coin to return it in time for her own wedding. “ . . . and a Sixpence in Her Shoe”

"A life recording hits with the Rolling Stones, the Who, Led Zeppelin, the Eagles, Eric Clapton, the Faces ..."--Jacket.

Richard Curtis's romantic comedies have been watched in cinemas, on televisions, even on airplanes the world over. This illustrated book features the screenplays of 'Four Weddings and a Funeral' and 'Notting Hill', and the original shooting script of 'Love Actually'. It includes an introduction by Curtis himself.

In Teatimes, food historian Helen Saberi takes us on a stimulating journey beyond the fine porcelain, doilies, crumpets, and jam into the fascinating and diverse history of tea drinking. From elegant afternoon teas, hearty high teas, and cricket and tennis teas, to funeral teas, cream teas, and many more, Saberi investigates the whole panoply of teatime rituals and ephemera—including tea gardens, tea dances, tea gowns, and tearooms. We are invited to spend time in the sophisticated salons de thé of Paris and the cozy tearooms of the United States; to enjoy the teatime traditions of Canada, the United Kingdom, Australia, New Zealand, and South Africa, where housewives prided themselves on their “well-filled tins”; to sit in on the tea parties of the Raj and Irani cafes in India; to savor teatimes along the Silk Road, where the samovar and chaikhana reign supreme; and to delight in the tasty dim sum of China and the intricate tradition of cha kaiseki in Japan. Steeped in evocative illustrations and recipes from around the world, Teatimes shows how tea drinking has become a global obsession, from American iced tea and Taiwanese bubble tea to the now-classic English afternoon tea. Pinkies up!

This critical introduction to British musical theatre since 1950 is the first book to discuss its post-war developments from the perspective of British – as opposed to American – popular culture. The genre is situated within the historical context of post-war British society in order to explore the range of forms through which significant sociocultural moments are represented. Introductory chapters analyse the way British musicals have responded to social change, the forms of popular theatre and music from which they have developed and their originality in elaborating new narrative strategies since the seventies. A key feature of the book is its close readings of twelve key works, from Salad Days (1954) and Oliver! (1960) to global smash hits such as Les Misérables (1985) and The Phantom of the Opera (1986) and beyond, including the latest critical and box-office success Matilda (2011). Also analysed are British favourites (Blood Brothers, 1983), cult shows (The Rocky Horror Show, 1975) and musicals with a pre-existing fan-base, such as Mamma Mia! (1999).

The first substantial overview of the British film industry with emphasis on its genres, stars, and socioeconomic context, British National Cinema by Sarah reet is an important title in Routledge's new National Cinemas series. British National Cinema synthesizes years of scholarship on British film while incorporating the author' fresh perspective and research. reet divides the study of British cinema into four sections: the relation between the film industry and government; specific film genres; movie stars; and experimental cinema. In addition, this beautifully illustrated volume includes over thirty stills from every sphere of British cinema. British National Cinema will be of great interest to film students and theorists as well as the general reader interested in the fascinating scope of British film.