No One Is Alone

From bestselling author Rachel Vincent comes a gripping and heartfelt story about a girl faced with a shocking revelation when her mom dies and she's forced to move in with her father's “real” family. Michaela is a junior in high school, living with her single mom. Her dad lives a few towns away and she only sees him on holidays and birthdays. They barely know each other, but Michaela is so close with her mom that she's never minded. That is, until her mom dies suddenly, and Michaela has to move in with her dad . . . who reveals he's been married with kids all this time and she's the product of an affair. Before she can even grieve her mother, Michaela is thrust into a strange house with a stepmom and three half siblings. Including her new sister Emery, who is less than thrilled at the prospect of sharing her room. Especially when they both try out for the school musical and Emery's theater star ex-boyfriend suddenly seems interested in Michaela. Can Michaela find a way to make a home with a family who didn't ask for her in the first place?

This is the script of the original musical from which the film was adapted, not the film's screenplay.

"For no Jane Austen could ever appear in Jane Austen. Amid happy wives and pathetic old maids, we see no successfully unmarried woman, and, despite the multitude of girls seeking to acquire "accomplishments," no artist either. What does appear is a ghostly No One, a narrative voice unmarked by age, gender, marital status, all the particulars that make a person - and might make a person peculiar. The Austen heroine must suppress her wit to become the one and not the other, to become, that is, a person fit to be tied in a conjugal knot. But for herself, Austen refuses personhood, with all its constraints and needs, and disappears into the sourceless anonymity of her style. Though often treasured for its universality, that style marks the specific impasse of a writer whose self-representation is impossible without the prospect of shame.".

The New York Times called Stephen Sondheim "the greatest and perhaps best known artist in the American musical theater," while two months earlier, the same paper referred to his contemporary, Andrew Lloyd-Webber as "the most commercially successful composer in history." Whatever their individual achievements might be, it is agreed by most critics that these two colossi have dominated world musical theater for the last quarter century and hold the key to the direction the musical stage will take in the future. Here in the third volume of Stephen Citron's distinguished series The Great Songwriters--in depth studies that illuminated the musical contributions, careers, and lives of Noel Coward and Cole Porter (Noel & Cole: The Sophisticates), and Oscar Hammerstein 2nd and Alan Jay Lerner, (The Wordsmiths)--this eminent musicologist has taken on our two leading contemporary contributors to the lyric stage. His aim has not been to compare or judge one's merits over the other, but to make the reader discover through their works and those of their contemporaries, the changes and path of that glorious artform we call Musical Theater. In his quest, Citron offers unique insight into each artist's working methods, analyzing their scores--including their early works and works-in-progress. As in Citron's previously critically acclaimed books in this series, great significance is given to the impact their youthful training and private lives have had upon their amazing creative output. Beginning with Sondheim's lyrics-only works, West Side Story, Gypsy, Do I Hear A Waltz? through his scores for Saturday Night, Company, Anyone Can Whistle, Follies, Pacific Overtures, A Little Night Music, Sweeney Todd, Merrily We Roll Along, Sunday In the Park, Into the Woods, Assassins, and Passion, all these milestones of musical theater have been explored. Lloyd-Webber's musical contribution from his early works, The Likes of Us and Joseph to Jesus Christ Superstar, Evita, Cats, Starlight Express, Aspects of Love, By Jeeves, The Phantom of the Opera, Song & Dance, Mass, Sunset Boulevard to Whistle Down the Wind are also thoroughly analyzed. The works of these two splendid artists are clarified for the casual or professional reader in context with their contemporaries. Complete with a quadruple chronology (Sondheim, Lloyd-Webber, US Theater, British Theater), copious quotations from their works, and many never before published illustrations, the future of the artform that is the crowning achievement of the 20th century is made eminently clear in this book. Sondheim & Lloyd-Webber is a must-read for anyone interested in the contemporary theater.

Everybody has value and should be made to feel that way. That was one of our fundamental tenets, and we all bough into it completely. We believed that if you've built the right culture-a culture of inclusion-then an important contribution could just as likely come from a guy who says he's keeping his fingers crossed to hang on with the team as from one of the stars. Book jacket.

Originally published in hardcover in 2021 by Aladdin.

Jannie Wright has given us a true gift with her collection WALKING IN THE WONDER. Within these pages she shares with sensitivity the unexpected miracles that have come to her, and the impact each has made upon her life. These true stories pull you in. They are beautifully written, and filled with a sense of wonder, humor and joy. Genuinely fascinating, each one is a gem. This book will open your eyes and your mind, providing a happy awakening to wonders present in your own life's walk.

The second volume of Sondheim's collected lyrics is both a remarkable glimpse into the brilliant mind of a legend, and a continuation of the acclaimed and best-selling Finishing the Hat. Picking up where he left off in Finishing the Hat, Sondheim gives us all the lyrics, along with excluded songs and early drafts, of the Pulitzer Prize–winning Sunday in the Park with George, Into the Woods, Assassins and Passion. Here, too, is an in-depth look at the evolution of Wise Guys, which subsequently was transformed into Bounce and eventually became Road Show. Sondheim takes us through his contributions to both television and film, some of which may surprise you, and covers plenty of never-before-seen material from unproduced projects as well. There are abundant anecdotes about his many collaborations, and readers are treated to rare personal material in this volume, as Sondheim includes songs culled from commissions, parodies and personal special occasions—such as a hilarious song for Leonard Bernstein’s seventieth birthday. As he did in the previous volume, Sondheim richly annotates his lyrics with invaluable advice on songwriting, discussions of theater history and the state of the industry today, and exacting dissections of his work, both the successes and the failures. Filled with even more behind-the-scenes photographs and illustrations from Sondheim’s original manuscripts, Look, I Made a Hat is fascinating, devourable and essential reading for any fan of the theater or this great man’s work.