Little Shoppe Of Horrors 31

'Little Shoppe of Horror' #31, in 2013 (now in an 8-1/2" x 11" format) Presented an in-depth production history of one of Hammer Film Production's most under appreciated horror films - DEMONS OF THE MIND. Bruce G Hallenbeck takes you behind the scenes on how it was produced, in 1971. Interviews with producer Frank Godwin, screenwriter Christopher Wicking, director Peter Sykes and stars Robert Hardy, Shane Briant and Virginia Wetherell. Also in this issue - one of the most maligned, but most entertaining "bad" movies of the 1960s: TROG ('No Laughing Matter - the Making of TROG.) Poor old Joan Crawford. Tim Rogerson looks at the co-production between Hammer and horror-meister, William Castle - THE OLD DARK HOUSE (1961). And Tim Lucas, in the ongoing LSoH feature on 'A History of Horror Film Fanzine', documents 'Citizen Clarke' and Tim's relationship & the history of CINEFANTASTIQUE Magazine.

Think you know everything there is to know about Hammer Films, the fabled "Studio that Dripped Blood?" The lowdown on all the imperishable classics of horror, like The Curse of Frankenstein, Horror of Dracula and The Devil Rides Out? What about the company's less blood-curdling back catalog? What about the musicals, comedies and travelogues, the fantasies and historical epics--not to mention the pirate adventures? This lavishly illustrated encyclopedia covers every Hammer film and television production in thorough detail, including budgets, shooting schedules, publicity and more, along with all the actors, supporting players, writers, directors, producers, composers and technicians. Packed with quotes, behind-the-scenes anecdotes, credit lists and production specifics, this all-inclusive reference work is the last word on this cherished cinematic institution.

With LSoH #31, we cover three lesser known British fantasy films - but still full of behind the scenes info, photos and interviews. Hammer's 1962 THE OLD DARK HOUSE, Hammer's 1971 DEMONS OF THE MIND and the mind blowing awful TROG. Plus Tim Lucas's epic history of CINEFANTASTIQUE Magazine.

Hollywood's conversion to sound in the 1920s created an early peak in the film musical, following the immense success of The Jazz Singer. The opportunity to synchronize moving pictures with a soundtrack suited the musical in particular, since the heightened experience of song and dance drew attention to the novelty of the technological development. Until the near-collapse of the genre in the 1960s, the film musical enjoyed around thirty years of development, as landmarks such as The Wizard of Oz, Meet Me in St Louis, Singin' in the Rain, and Gigi showed the exciting possibilities of putting musicals on the silver screen. The Oxford Handbook of Musical Theatre Screen Adaptations traces how the genre of the stage-to-screen musical has evolved, starting with screen adaptations of operettas such as The Desert Song and Rio Rita, and looks at how the Hollywood studios in the 1930s exploited the publication of sheet music as part of their income. Numerous chapters examine specific screen adaptations in depth, including not only favorites such as Annie and Kiss Me, Kate but also some of the lesser-known titles like Li'l Abner and Roberta and problematic adaptations such as Carousel and Paint Your Wagon. Together, the chapters incite lively debates about the process of adapting Broadway for the big screen and provide models for future studies.

From their first pairing in Hamlet (1948) to House of the Long Shadows (1983), British film stars Christopher Lee and Peter Cushing forged perhaps the most successful collaboration in horror film history. In its revised and expanded second edition, this volume examines their 22 movie team-ups, with critical commentary, complete cast and credits, production information, details on cinematography and make-up, exhibition history and box-office figures. A wealth of background about Hammer, Amicus and other production companies is provided, along with more than 100 illustrations. Lee and Cushing describe particulars of their partnership in original interviews. Exclusive interviews with Robert Bloch, Hazel Court and nearly fifty other actors, directors and others who worked on the Lee-Cushing films are included.

After several years of small roles and experimental screenwriting during his early career, Jack Nicholson got his big break in 1969 with Easy Rider. The next year Five Easy Pieces made him a star. Since then the 12-time Academy Award nominee has won Best Actor twice (One Flew Over the Cuckoo’s Nest and As Good as It Gets). This critical study examines each of Nicholson’s film roles, as well as his screenwriting and directorial efforts. Fascinating personal insights are provided through interviews with stars such as Mews Small, James Hong, Millie Perkins, Michael Margotta, Shirley Knight, Joe Turkel, Ed Nelson, Hazel Court, the Monkees, several Apollo astronauts, Hell’s Angel Sonny Barger, Peter Fonda, Bruce Dern, and many more.

How many hit musicals are based on films that were shot in two days at a budget of $30,000? The answer is one: Little Shop of Horrors. Roger Corman's monster movie opened in 1960, played the midnight circuit, and then disappeared from view. Two decades later, Little Shop of Horrors opened Off-Broadway and became a surprise success. Attack of the Monster Musical: A Cultural History of Little Shop of Horrors chronicles this unlikely phenomenon. The Faustian tale of Seymour and his man-eating plant transcended its humble origins to become a global phenomenon, launching a popular film adaptation and productions all around the world. This timely and authoritative book looks at the creation of the musical and its place in the contemporary musical theatre canon. Examining its afterlives and wider cultural context, the book asks the question why this unlikely combination of blood, annihilation, and catchy tunes has resonated with audiences from the 1980s to the present. At the core of this in-depth study is the collaboration between the show's creators, Howard Ashman and Alan Menken. Told through archival research and eyewitness accounts, this is the first book to make extensive use of Ashman's personal papers, offering a unique and inspiring study of one of musical theatre's greatest talents.

Musical Theater in Schools: Purpose, Process, and Performance is a comprehensive resource for general classroom teachers, music and drama educators. The book is the first of its kind to provide strategies for including musical theater across the K-12 curriculum, inviting teachers and arts specialists to utilize musical theater as an interdisciplinary art form within their own classrooms, or as collaborative projects throughout the school community. Typically relegated to after-school activities, musical theater can have a strong place both as an avenue for performance, creativity, and self-expression, or as a pathway for student learning about academic subjects. Drawing upon musical theater terminology, the book is organized into three distinct acts. The first section gives an overview of how this popular art form developed and how its stories reflect our culture and community, with descriptions of musical theater as a profession for adults, and for children. This section also discusses musical theater's compromised position within the arts, often relegated to theater departments even though repertoire and songs are available to music teachers, and argues for musicals as a form of interdisciplinary education. The second section outlines ways of integrating musical theater into the curriculum with considerations for the National Core Arts Standards. The third section provides suggestions for auditions, casting, rehearsing, and presenting a complete production, with a specific focus on student-centered performances. Based on the author's own experiences as a professional musical theater performer, coupled with teaching and research in classroom settings, the book reasons that you do not have to be a Broadway star to teach or perform musical theater. This unique and innovative book supports educators through the process of bringing musical theater into the biggest and most important performance space - the classroom stage.