Ghost Light Burning

Jack's dad is the new caretaker for the Dareville Community Theater. Jack is not looking forward to living in the rundown theater. To make matters worse, a ghost visits him on the very first day. The ghost promises to haunt Jack until he helps solve the mystery of his disappearance. What will Jack discover is the answer to the ghost's disappearance? The ending is Up2U. Aligned to Common Core Standards and correlated to state standards. Calico is an imprint of Magic Wagon, a division of ABDO.

We face many circumstances that bring us to our knees at the precipice of our sense-making: in our relationships, our parenting, our roles as heads of organizations or as those trying to navigate the cultures and contexts of them. These scenes of our lives often trigger our smaller, more shadowy selves to steal the show - we call this "Fallback." When we are in fallback, we want to reject these shady characters within us who storm the stage in our most fraught moments, in our most valued relationships. The problem is that when we deny the full cast that compromises us, fallback in its neglect begets a vicious cycle of repeated fallback. This book invites us to leave the ghost light on for all our characters, offering a set of practices to notice, arrest, reflect on, and recover from fallback more quickly, and even to transform ourselves in the process. Fallback, when we recognize and come into relationship with it, can be about understanding when and why we are not able to bring our better self; reframing our expectations of who we are in this world; accepting the full messiness that is an inevitable component of being human; coming to know and love a more authentic version of self; and cultivating the environments for others to do the same.

The stage crew at St. Genesius Prep—or Backstagers, as they like to call themselves—are ready for whatever the theater world can throw their way: the madness of tech week, inevitable prop malfunctions, and all the paranormal activity that goes on behind the scenes. Luckily Jory, Hunter, Sasha, Beckett, and Aziz are up for the job! But lately, someone—or something—seems set on ruining their production of Phantasm. It all started when an actor brought a Spirit Board to the cast party, and the ghost light blew out. Every good theater kid knows that a ghost light must be left on to keep ghosts from moving in the shadows of an empty theater. To figure out what’s haunting the theater and save the show, the Backstagers will have to use their smarts, bravery, and a little bit of magic!

There is a superstition that if an emptied theater is ever left completely dark, a ghost will take up residence. To prevent this, a single "ghost light" is left burning at center stage after the audience and all of the actors and musicians have gone home. Frank Rich's eloquent and moving boyhood memoir reveals how theater itself became a ghost light and a beacon of security for a child finding his way in a tumultuous world. Rich grew up in the small-townish Washington, D.C., of the 1950s and early '60s, a place where conformity seemed the key to happiness for a young boy who always felt different. When Rich was seven years old, his parents separated--at a time when divorce was still tantamount to scandal--and thereafter he and his younger sister were labeled "children from a broken home." Bouncing from school to school and increasingly lonely, Rich became terrified of the dark and the uncertainty of his future. But there was one thing in his life that made him sublimely happy: the Broadway theater. Rich's parents were avid theatergoers, and in happier times they would listen to the brand-new recordings of South Pacific, Damn Yankees, and The Pajama Game over and over in their living room. When his mother's remarriage brought about turbulent changes, Rich took refuge in these same records, re-creating the shows in his imagination, scene by scene. He started collecting Playbills, studied fanatically the theater listings in The New York Times and Variety, and cut out ads to create his own miniature marquees. He never imagined that one day he would be the Times's chief theater critic. Eventually Rich found a second home at Wash-ington's National Theatre, where as a teenager he was a ticket-taker and was introduced not only to the backstage magic he had dreamed of for so long but to a real-life cast of charismatic and eccentric players who would become his mentors and friends. With humor and eloquence, Rich tells the triumphant story of how the aspirations of a stagestruck young boy became a lifeline, propelling him toward the itinerant family of theater, whose romantic denizens welcomed him into the colorful fringes of Broadway during its last glamorous era. Every once in a while, a grand spectacle comes along that introduces its audiences to characters and scenes that will resound in their memories long after the curtain has gone down. Ghost Light, Frank Rich's beautifully crafted childhood memoir, is just such an event.

From one of Canada’s most beloved performing artists comes an audacious work of non-fiction that explores the stories that shape us and the reach that the past can have across generations. Growing up north of Toronto, R.H. Thomson’s imagination was captured by romantic notions of war. He spent his days playing with toy soldiers on the carpet of his grandmother’s house, recreating the Battle of Britain with model planes in his bedroom, or sitting at the local theatre watching World War II B movies—ones that offered a very clear perspective on who were the heroes and who the villains; which side were the victors and which the vanquished. Yet Thomson’s childhood was also shaped by the spirits of real-life warriors in his family, their fates a brutal and more complicated reminder of the true human cost of war. Eight of Robert’s great uncles—George, Joe, Jack, Harold, Arthur, Warren, Wildy, and Fred—fought in the First World War, while his great Aunt Margaret served as a wartime surgical nurse in Europe. Five of the great uncles—George, Joe, Fred, Wildy, and Warren—were killed in battle while two others—Jack and Harold—would return home greatly diminished, spending the rest of their lives in and out of sanitariums, their lungs scarred by disease and poison gas. Throughout their lives, the great uncles, as well as great aunts and cousins, were faithful letter writers, their correspondence offering profound insights into their experiences on the front lines to their loved ones back home, a somber record of the sacrifice the family paid. In By the Ghost Light, R.H. Thomson offers an extraordinary look at his family’s history while providing a powerful examination of how we understand war and its aftermath. Using his family letters as a starting point, Thomson roams through a century of folly, touching on areas of military history, art, literature, and science, to express the tragic human cost of war behind the order and calm of ceremonial parades, memorials, and monuments. In an urgent call for new ways to acknowledge the dead, R.H. has created “The World Remembers,” an ambitious international project to individually name each of the millions killed in the First World War. Epic in its scope and incredibly intimate in its exploration of lives touched by the tragedy of war, By the Ghost Light is a truly original book that will challenge the way we approach our history.

Rebecca Strand was just sixteen when she and her father fell to their deaths from the top of the Gibraltar Point Lighthouse in 1839. Just how they fell-or were they pushed?-remains a mystery. And their ghosts haunt the lighthouse to this day ... Gabe tells this story every day when he gives the ghost tour on Toronto Island. He tries to make it scary enough to satisfy the tourists, but he doesn't actually believe in ghosts - until he finds himself face to face with Rebecca Strand. The true story of her death is far more terrifying than any ghost tale Gabe has told. Rebecca reveals that her father was a member of the Order, a secret society devoted to protecting the world from 'the wakeful and wicked dead' - malevolent spirits like Viker, the ghost responsible for their deaths. But the Order has disappeared, and Viker's ghost is growing ever stronger. Now Gabe and his friends must find a way to stop Viker before they all become lost souls ... A fresh-and very scary-take on the ghost story from Kenneth Oppel.

Modern Theatres 1950–2020 is an investigation of theatres, concert halls and opera houses in Asia, Europe, the Middle East and North and South America. The book explores in detail 30 of the most significant theatres, concert halls, opera houses and dance spaces that opened between 1950 and 2010. Each theatre is reviewed and assessed by experts in theatre buildings, such as architects, acousticians, consultants and theatre practitioners, and illustrated with full-colour photographs and comparative plans and sections. A further 20 theatres that opened from 2009 to 2020 are concisely reviewed and illustrated. An excellent resource for students of theatre planning, theatre architecture and architectural design, Modern Theatres 1950 – 2020 discusses the role of performing arts buildings in cities, explores their public and performances spaces and examines the acoustics and technologies needed in a great building. This beautifully illustrated book is also a must-read for architects, theater designers, theatre historians, and theatre practitioners.