DOCSLIB.ORG

Playwrights Canada Press

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Playwrights Canada Press PLAYWRIGHTS CANADA PRESS fall 2018 ORDERING AND DISTRIBUTION IN CANADA SALES Canadian Manda Group 664 Annette Street, Toronto, ON M6S 2C8 p: 416.516.0911 | f: 416.516.0917 | e: [email protected] | w: www.mandagroup.com customer service & orders special markets t: 416.516.0911 t: 1.855.626.3222 | f: 1.888.563.8327 | e: [email protected] Ellen Warwick, National Account Manager, Special Markets (x240) national accounts t: 416.516.0911 Anthony Iantorno, Manager, Business Intelligence & Kristina Koski, Account Manager, Special Markets (x234) National Accounts (x242) Jessey Glibbery, Account Manager, Special Markets (x228) Peter Hill-Field, Director, Sales & Marketing (x238) regional accounts Chris Hickey, National Account Manager (x229) Iolanda Millar, Account Manager, British Columbia, Yukon & Northern Territories (604.662.3511 x246) Joanne Adams, National Account Manager (x224) Robert Patterson, Account Manager, British Columbia Emily Patry, National Account & Communications (604-662-3511 x247) Manager (x230) Jean Cichon, Account Manager, Alberta, Saskatchewan Tim Gain, National Account Manager, Library Market (x231) & Manitoba (403.202.0922 x245) Nikki Turner, Account Manager, Trade & Library Ryan Muscat, Account Manager, Ontario & Manitoba Market (x225) (416.516.0911 x230) David Farag, Sales & Marketing Coordinator, National Dave Nadalin, Account Manager, Ontario Accounts (x248) (416.516.0911 x400) Jacques Filippi, Account Manager, Quebec & Atlantic Provinces (1.855.626.3222 x244) DISTRIBUTION University of Toronto Press Inc. 5201 Dufferin Street, Toronto, ON M3H 5T8 p: 1.800.565.9523 or 416.667.7791 | f: 1.800.221.9985 or 416.667.7832 | e: [email protected] To order by EDI: Through Pubnet: SAN 115 1134 All orders from individuals must be prepaid. Visa, MasterCard, and international money orders are accepted. Cheques must be drawn on a Canadian or US bank. IN THE UNITED STATES Theatre Communications Group 520 Eighth Avenue, 24th Floor, New York, New York, USA 10018-4156 p: 212.609.5900 | f: 212.609.5901 | e: [email protected] IN EUROPE, SOUTH AFRICA, AUSTRALIA, AND NEW ZEALAND Nick Hern Books The Glass House, 49a Goldhawk Road, London, England W12 8QP p: 020.8749.4953 | f: 020.8735.0250 | e: [email protected] BOTTICELLI IN THE FIRE & SUNDAY IN SODOM JORDAN TANNAHILL Award-winning playwright Jordan Tannahill is back with modern-day queer and feminist retellings of two momentous events—one historic, one mythic. Botticelli in the Fire imagines the famed painter of The Birth of Venus, Sandro Botticelli, as an irrepress- ible seeker of love and pleasure caught between the powerful Medici family, the firebrand teachings of a zealot friar, and his young lover, Leonardo da Vinci. Entangled in sexual and political brinkmanship, Botticelli must choose between art and survival. In Sunday in Sodom, Lot’s wife Edith tells of the Biblical destruction of Sodom and Gomorrah, but set in the present day. American troops obliterate her sur- SEPTEMBER | $18.95 roundings with drone strikes and villagers turn against 5 3/8" x 8 3/8" | 144 pages | 9781770919174 each other, but Edith’s still focused on protecting her DRA017000 | DRA013000 2f, 4m | premiered in April 2016 at the family, finally giving an answer as to why, when told Berkeley Street Theatre, Toronto, in to run and never look back, she looked back. a production by the Canadian Stage Company JORDAN TANNAHILL is a play- “Tannahill’s work is witty, sexy, and auda- wright, author, and filmmaker. cious, with a strong emotional core.” Jordan’s plays have been trans- —Martin Morrow, Torontoist lated into multiple languages and honoured with various “Jordan Tannahill’s bracingly fresh dou- prizes, including the Governor ble bill takes fragments of stories from the historical record and turns them into General’s Literary Award for plays for today, damning more than a few Drama, the John Hirsch Prize, and multiple Dora torpedoes as he goes.” Mavor Moore Awards. In the last year, Jordan’s play —Karen Fricker, Toronto Star Late Company transferred to London’s West End; his virtual-reality piece Draw Me Close premiered ALSO AVAILABLE: Age of Minority: at the Venice Biennale; his debut novel Liminal was Three Solo Plays | Concord Floral | Late Company published by House of Anansi; he premiered his play Declarations at Canadian Stage; and he collaborat- YOU MAY LIKE: The Gay Heritage ed with Akram Khan on Xenos, currently touring Project by Damien Atkins, Andrew internationally. Kushnir, and Paul Dunn New Titles / 3 MUSTARD KAT SANDLER “I took the liberty of turning something that makes you sad into something that will make you laugh.” Mustard shouldn’t still be here, but he is. Imaginary friends don’t normally stay with their person until that person is a teenager. Imaginary friends don’t sud- denly become visible to their person’s mom and then go on a date with them, either. But when those peo- ple—such as the troubled Thai and her dangerously upset mother, Sadie—need help, they’re lucky that Mustard’s there with a goofy smile on his face. But Mustard has his own peculiar problems. Since he’s still around, he has to abide by some rules enforced by unsavoury characters. And, oh yeah, he’s falling in love with Sadie, who doesn’t believe he’s real. For someone whose purpose was once so simple, Mustard NOVEMBER | $17.95 5 3/8" x 8 3/8" | 96 pages | 9781770919211 sure has a lot to deal with. DRA019000 | DRA013000 This darkly comedic bedtime story by Canadian 2f, 4m | premiered in February 2015 at theatre’s indie darling blurs imagination with reality Tarragon Theatre in Toronto, with upcom- in order to save a family from its own destruction. ing productions at the Arts Club Theatre, Vancouver and the Belfry Theatre, Victoria KAT SANDLER is a writer, di- Mustard is loosely based on a personal rector, and Artistic Director of experience between Sandler and her own Theatre Brouhaha, where she imaginary friend. has directed twelve of her orig- inal plays in the last six years, While not meant for children, Mustard will appease everyone’s inner child. including Toronto Best of Fringe hits Bright Lights and Punch Up. “Kat Sandler writes such incongruous, funny She was a member of the 2014 Tarragon Playwrights dialogue.” —Lynn Slotkin, The Slotkin Letter Unit, where she developed Mustard, which won the 2016 Dora Mavor Moore Award for Outstanding “The delight of Sandler’s work comes from both her fanciful scenarios and her New Play (General Division). She was the 2015 re- playfulness with language, and both of cipient of NOW Magazine’s Audience Choice Award these are present in abundance.” for Best Director and Best Playwright. Kat is a grad- —Ilana Lucas, Mooney on Theatre uate of the Queen’s University drama program. She ALSO AVAILABLE: Punch Up lives in Toronto, Ontario. YOU MAY LIKE: Redheaded Stepchild by Johnnie Walker 4 / New Titles BUNNY HANNAH MOSCOVITCH “In one school year she kissed nineteen boys and won all the science awards.” From one of Canada’s boldest playwrights comes an intimate look into the sexual life of a young woman as she struggles with the power of her desires. Sorrel grew up with professor parents, where car- ob was dessert, reading passages of Canadian poetry aloud was entertainment, and canoeing was the only sport encouraged. No one really noticed the studious Sorrel until she turned seventeen, when late puber- ty suddenly transformed her into a hot dork. Boys wanted her and girls loathed her, and all at once Sorrel discovered the joys of sexuality and the pain of social rejection. Sorrel enters college as a self-proclaimed loser with no NOVEMBER | $17.95 female friends, but then she meets Maggie. Maggie’s un- 5 3/8" x 8 3/8" | 144 pages | 9781770919259 wavering friendship helps her shed her inhibitions and DRA019000 | DRA013000 become more truly herself. The two women grow older, 3f, 4m | premiered in August 2016 at the but when Maggie is diagnosed with cancer, Sorrel must Stratford Festival choose between raw feeling and devotion. “This story of desire, morality and con- nection is hard not to fall in love with.” HANNAH MOSCOVITCH is an —Carly Maga, Toronto Star internationally acclaimed play- wright whose work has been “One of Canada’s finest playwrights.” —Jon Kaplan, NOW Magazine produced across Canada as well as in the United States, “If women’s sexuality is typically played Britain, Ireland, Greece, Japan, out in romantic canopy beds or pitch- Germany, Austria, and Australia. black bedrooms, Moscovitch places it Hannah has been the recipient of numerous awards unabashedly under flickering fluorescent lights in a bar bathroom.” for her work, including the Trillium Book Award, the —Laura Cudworth, Stratford Beacon Herald Dora Mavor Moore Award for Outstanding New Play, the Toronto Critics Award, the SummerWorks ALSO AVAILABLE: East of Berlin | Infinity Prize for Production, both the Scotsman Fringe | Little One and Other Plays | The Mill | This Is War First and the Herald Angel Award at the Edinburgh Festival, and the prestigious Windham-Campbell YOU MAY LIKE: The Last Wife by Kate Prize administered by Yale University. She is a play- Hennig wright-in-residence at Tarragon Theatre in Toronto. New Titles / 5 MISTATIM / INSTANT ERIN SHIELDS In these two plays for young audiences, award-win- ning playwright Erin Shields presents the challenges of communication and friendship. In Mistatim, which is based on a concept from Sandra Laronde of Red Sky Performance, two eleven-year- olds strike up an unlikely friendship at the fence between one’s reservation and the other’s ranch. On Speck’s side, she’s carved names of family members into the wooden posts as she tries to piece together her identity. On Calvin’s, he’s trying to train a horse in order to prove himself to his father.
Load more

Recommended publications
  • The Language of Narrative Drawing: a Close Reading of Contemporary Graphic Novels
    The Language of Narrative Drawing: a close reading of contemporary graphic novels Abstract: The study offers an alternative analytical framework for thinking about the contemporary graphic novel as a dynamic area of visual art practice. Graphic narratives are placed within the broad, open-ended territory of investigative drawing, rather than restricted to a special category of literature, as is more usually the case. The analysis considers how narrative ideas and energies are carried across specific examples of work graphically. Using analogies taken from recent academic debate around translation, aspects of Performance Studies, and, finally, common categories borrowed from linguistic grammar, the discussion identifies subtle varieties of creative processing within a range of drawn stories. The study is practice-based in that the questions that it investigates were first provoked by the activity of drawing. It sustains a dominant interest in practice throughout, pursuing aspects of graphic processing as its primary focus. Chapter 1 applies recent ideas from Translation Studies to graphic narrative, arguing for a more expansive understanding of how process brings about creative evolutions and refines directing ideas. Chapter 2 considers the body as an area of core content for narrative drawing. A consideration of elements of Performance Studies stimulates a reconfiguration of the role of the figure in graphic stories, and selected artists are revisited for the physical qualities of their narrative strategies. Chapter 3 develops the grammatical concept of tense to provide a central analogy for analysing graphic language. The chapter adapts the idea of the graphic „confection‟ to the territory of drawing to offer a fresh system of analysis and a potential new tool for teaching.
    [Show full text]
  • Art and Performing Arts Recommended Reading List
    Read Around the Subject Art and Performing Arts Recommended Reading List The Poet X by Elizabeth Acevedo – Performing and Poetry A young girl in Harlem discovers slam poetry as a way to understand her mother's religion and her own relationship to the world. Debut novel of renowned slam poet Elizabeth Acevedo. Xiomara Batista feels unheard and unable to hide in her Harlem neighborhood. Ever since her body grew into curves, she has learned to let her fists and her fierceness do the talking. But Xiomara has plenty she wants to say, and she pours all her frustration and passion onto the pages of a leather notebook, reciting the words to herself like prayers, especially after she catches feelings for a boy in her bio class named Aman, who her family can never know about. With Mami's determination to force her daughter to obey the laws of the church, Xiomara understands that her thoughts are best kept to herself. So, when she is invited to join her school' s slam poetry club, she doesn't know how she could ever attend without her mami finding out, much less speak her words out loud. But still, she can't stop thinking about performing her poems. Because in the face of a world that may not want to hear her, Xiomara refuses to be silent Slog's Dad by David Almond - Art Do you believe there's life after death? Slog does. He reckons that the scruffy bloke sitting outside the pork shop is his dad who has come back to visit him for one last time.
    [Show full text]
  • What Ever Happened to In-Yer-Face Theatre?
    What Ever Happened to in-yer-face theatre? Aleks SIERZ (Theatre Critic and Visiting Research Fellow, Rose Bruford College) “I have one ambition – to write a book that will hold good for ten years afterwards.” Cyril Connolly, Enemies of Promise • Tuesday, 23 February 1999; Brixton, south London; morning. A Victorian terraced house in a road with no trees. Inside, a cloud of acrid dust rises from the ground floor. Two workmen are demolishing the wall that separates the dining room from the living room. They sweat; they curse; they sing; they laugh. The floor is covered in plaster, wooden slats, torn paper and lots of dust. Dust hangs in the air. Upstairs, Aleks is hiding from the disruption. He is sitting at his desk. His partner Lia is on a train, travelling across the city to deliver a lecture at the University of East London. Suddenly, the phone rings. It’s her. And she tells him that Sarah Kane is dead. She’s just seen the playwright’s photograph in the newspaper and read the story, straining to see over someone’s shoulder. Aleks immediately runs out, buys a newspaper, then phones playwright Mark Ravenhill, a friend of Kane’s. He gets in touch with Mel Kenyon, her agent. Yes, it’s true: Kane, who suffered from depression for much of her life, has committed suicide. She is just twenty-eight years old. Her celebrity status, her central role in the history of contemporary British theatre, is attested by the obituaries published by all the major newspapers. Aleks returns to his desk.
    [Show full text]
  • Thursday 17 January 2019 National Theatre: February
    Thursday 17 January 2019 National Theatre: February – July 2019 Inua Ellams’ Barber Shop Chronicles will play at the Roundhouse, Camden for a limited run from July as part of a UK tour Gershwyn Eustache Jnr, Leah Harvey and Aisling Loftus lead the cast of Small Island, adapted by Helen Edmundson from Andrea Levy’s prize-winning novel, directed by Rufus Norris in the Olivier Theatre Justine Mitchell joins Roger Allam in Rutherford and Son by Githa Sowerby, directed by Polly Findlay Phoebe Fox takes the title role of ANNA in Ella Hickson and Ben and Max Ringham’s tense thriller directed by Natalie Abrahami Further casting released for Peter Gynt, directed by Jonathan Kent, written by David Hare, after Henrik Ibsen War Horse will return to London as part of the 2019 UK and international tour, playing at a new venue, Troubadour Wembley Park Theatre, for a limited run in October Olivier Theatre SMALL ISLAND adapted by Helen Edmundson based on the novel by Andrea Levy Previews from 17 April, press night 1 May, in repertoire until 10 August Andrea Levy’s epic, Orange Prize-winning novel bursts into new life on the Olivier Stage. A cast of 40 tell a story which journeys from Jamaica to Britain through the Second World War to 1948, the year the HMT Empire Windrush docked at Tilbury. Adapted for the stage by Helen Edmundson Small Island follows the intricately connected stories of two couples. Hortense yearns for a new life away from rural Jamaica, Gilbert dreams of becoming a lawyer, and Queenie longs to escape her Lincolnshire roots.
    [Show full text]
  • Theatre in England 2011-2012 Harlingford Hotel Phone: 011-442
    English 252: Theatre in England 2011-2012 Harlingford Hotel Phone: 011-442-07-387-1551 61/63 Cartwright Gardens London, UK WC1H 9EL [*Optional events — seen by some] Wednesday December 28 *1:00 p.m. Beauties and Beasts. Retold by Carol Ann Duffy (Poet Laureate). Adapted by Tim Supple. Dir Melly Still. Design by Melly Still and Anna Fleischle. Lighting by Chris Davey. Composer and Music Director, Chris Davey. Sound design by Matt McKenzie. Cast: Justin Avoth, Michelle Bonnard, Jake Harders, Rhiannon Harper- Rafferty, Jack Tarlton, Jason Thorpe, Kelly Williams. Hampstead Theatre *7.30 p.m. Little Women: The Musical (2005). Dir. Nicola Samer. Musical Director Sarah Latto. Produced by Samuel Julyan. Book by Peter Layton. Music and Lyrics by Lionel Siegal. Design: Natalie Moggridge. Lighting: Mark Summers. Choreography Abigail Rosser. Music Arranger: Steve Edis. Dialect Coach: Maeve Diamond. Costume supervisor: Tori Jennings. Based on the book by Louisa May Alcott (1868). Cast: Charlotte Newton John (Jo March), Nicola Delaney (Marmee, Mrs. March), Claire Chambers (Meg), Laura Hope London (Beth), Caroline Rodgers (Amy), Anton Tweedale (Laurie [Teddy] Laurence), Liam Redican (Professor Bhaer), Glenn Lloyd (Seamus & Publisher’s Assistant), Jane Quinn (Miss Crocker), Myra Sands (Aunt March), Tom Feary-Campbell (John Brooke & Publisher). The Lost Theatre (Wandsworth, South London) Thursday December 29 *3:00 p.m. Ariel Dorfman. Death and the Maiden (1990). Dir. Peter McKintosh. Produced by Creative Management & Lyndi Adler. Cast: Thandie Newton (Paulina Salas), Tom Goodman-Hill (her husband Geraldo), Anthony Calf (the doctor who tortured her). [Dorfman is a Chilean playwright who writes about torture under General Pinochet and its aftermath.
    [Show full text]
  • Timeline: Royal Court International (1989–2013) Compiled by Elaine Aston and Elyse Dodgson
    Timeline: Royal Court International (1989–2013) Compiled by Elaine Aston and Elyse Dodgson The Timeline charts the Royal Court’s London-based presentations of international plays and related events from 1989–2013. It also records the years in which fi rst research trips overseas were made and exchanges begun. Writers are listed alphabetically within recorded events; translators for the Court are named throughout; directors are listed for full productions and major events. Full productions are marked with an asterisk (*) – other play listings are staged readings. 1989: First international Summer School hosted by the Royal Court 1992: Court inaugurates exchange with Germany 1993: Summer School gains support from the British Council Austrian & German Play Readings (plays selected and commissioned by the Goethe-Institut; presented in October) Rabenthal Jorg Graser; Soliman Ludwig Fels; In den Augen eines Fremdung Wolfgang Maria Bauer; Tatowierung Dea Loher; A Liebs Kind Harald Kislinger; Alpenglühen Peter Turrini 1994: First UK writers exchange at the Baracke, Deutsches Theater, Berlin, coordinated by Michael Eberth. British writers were Martin Crimp, David Greig, Kevin Elyot, Meredith Oakes and David Spencer. Elyse Dodgson, Stephen Daldry and Robin Hooper took part in panel discussions 1995: Daldry and Dodgson make initial contacts in Palestine Plays from a Changing Country – Germany (3–6 October) Sugar Dollies Klaus Chatten, trans. Anthony Vivis; The Table Laid Anna Langhoff, trans. David Spencer; Stranger’s House Dea Loher, trans. David Tushingham; Waiting Room Germany Klaus Pohl, trans. David Tushingham; Jennifer Klemm or Comfort and Misery of the Last Germans D. Rust, trans. Rosee Riggs Waiting Room Germany Klaus Pohl, Downstairs, director Mary Peate, 1 to 18 November* 1996: Founding of the International Department by Daldry; Dodgson appointed Head.
    [Show full text]
  • Fleabag’ from London’S West End Expands Distribution in U.S
    MEDIA ALERT – September 20, 2019 ‘Fleabag’ from London’s West End Expands Distribution in U.S. Cinemas Monday, November 18 for One Night See the critically acclaimed, award-winning one woman show that inspired the network series with BAFTA winner and Emmy nominee Phoebe Waller-Bridge • WHAT: Fathom Events, BY Experience and National Theatre Live release “Fleabag” in cinemas on Monday, November 18, 2019 at 7:00 p.m. local time, captured live from Wyndham’s Theatre London during its sell out West End run. • WHERE: Tickets for these events can be purchased online by visiting www.FathomEvents.com or at participating theater box offices. Fans throughout the U.S. will be able to enjoy the events in nearly 500 movie theaters through Fathom’s Digital Broadcast Network (DBN). For a complete list of theater locations visit the Fathom Events website (theaters and participants are subject to change). • WHO: Fathom Events, BY Experience and National Theatre Live “Filthy, funny, snarky and touching” Daily Telegraph “Witty, filthy and supreme” The Guardian “Gloriously Disruptive. Phoebe Waller-Bridge is a name to reckon with” The New York Times Fleabag Written by Phoebe Waller-Bridge and directed by Vicky Jones, Fleabag is a rip-roaring look at some sort of woman living her sort of life. Fleabag may appear emotionally unfiltered and oversexed, but that’s just the tip of the iceberg. With family and friendships under strain and a guinea pig café struggling to keep afloat, Fleabag suddenly finds herself with nothing to lose. Fleabag was adapted into a BBC Three Television series in partnership with Amazon Prime Video in 2016 and earned Phoebe a BAFTA Award for Best Female Comedy Performance.
    [Show full text]
  • The Children by Lucy Kirkwood
    THE CHILDREN BY LUCY KIRKWOOD DRAMATISTS PLAY SERVICE INC. THE CHILDREN Copyright © 2018, Lucy Kirkwood All Rights Reserved CAUTION: Professionals and amateurs are hereby warned that performance of THE CHILDREN is subject to payment of a royalty. It is fully protected under the copyright laws of the United States of America, and of all countries covered by the International Copyright Union (including the Dominion of Canada and the rest of the British Com- monwealth), and of all countries covered by the Pan-American Copyright Convention, the Universal Copyright Convention, the Berne Convention, and of all countries with which the United States has reciprocal copyright relations. All rights, including without limitation professional/amateur stage rights, motion picture, recitation, lecturing, public reading, radio broadcasting, television, video or sound recording, all other forms of me- chanical, electronic and digital reproduction, transmission and distribution, such as CD, DVD, the Internet, private and file-sharing networks, information storage and retrieval systems, photocopying, and the rights of translation into foreign languages are strictly reserved. Particular emphasis is placed upon the matter of readings, permission for which must be secured from the Author’s agent in writing. The English language stock and amateur stage performance rights in the United States, its territories, possessions and Canada for THE CHILDREN are controlled exclusively by Dramatists Play Service, Inc., 440 Park Avenue South, New York, NY 10016. No professional or nonprofessional performance of the Play may be given without obtaining in advance the written permission of Dramatists Play Service, Inc., and paying the requisite fee. Inquiries concerning all other rights should be addressed to Casarotto Ramsay & Associates Ltd, Waverley House, 7-12 Noel Street, London, W1F 8GQ.
    [Show full text]
  • 9.ENGLISH LITERATURE in the 21 St CENTURY
    ENGLISH LITERATURE IN THE 21ST CENTURY (ENG4 C11) IV SEMESTER MA ENGLISH 2019 Admission onwards UNIVERSITY OF CALICUT School of Distance Education Calicut University- P.O, Malappuram - 673635, Kerala. 190013 School of Distance Education UNIVERSITY OF CALICUT School of Distance Education Study Material IV SEMESTER MA ENGLISH ENGLISH LITERATURE IN THE 21ST CENTURY: (ENG4 C11) Prepared by: Smt. MEENU S, Guest Lecturer, Govt. College, Kottayam. Scrutinized by: Smt. PINKU BOUSALLY, Asst. Professor of English, Govt. College, Peringome, Payyannur. DISCLAIMER “The author shall be solely responsible for the content and views expressed in this book” English Literature in the 21st century 2 School of Distance Education CONTENTS POETRY : 5 DRAMA : 23 FICTION & PROSE : 33 English Literature in the 21st century 3 School of Distance Education English Literature in the 21st century 4 School of Distance Education A Vision by Simon Armitage Armitage's poems echo the poetic genius of modern British poets such as Philip Larkin and W. H Auden. They share the same philosophic point of view that nothing is certain.Simon Armitage was born in Marsden, a village in West Yorkshire, England. From 2015 to 2019, he served as Professor of Poetry at the University of Oxford, and in 2017 he was appointed Professor of Poetry at the University of Leeds. He was named UK Poet Laureate in 2019. Armitage is the author of numerous collections of poetry, including Magnetic Field: The Marsden Poems (2020); Sandettie Light Vessel Automatic (2019); TheUnaccompanied (2017); Paper Aeroplane: Selected Poems 1989–2014 (2014); Seeing Stars (2010); Tyrannosaurus Rex Versus the Corduroy Kid (2006); TheShout: Selected Poems (2005).
    [Show full text]
  • Furry by Sean Mcgann © 2019, RN
    Furry By Sean McGann © 2019, RN: PAu 3-960-188 [email protected] or [email protected] OPEN TO: BLACK. TAILS (V.O.) It rained heavily that morning. EXT. WINDSHIELD OF TAILS’ TRUCK - MORNING Rain falls upon a truck's windshield. TAILS, a teenage boy with dark brown hair, drives the truck. He wears a purple jacket with a dark blue T-shirt underneath. He has an irritated look in his eyes, and breathes quite heavily. TAILS (V.O.) I woke up at 6:35, and had to use the small amount of driver's ed knowledge that somehow got me a driver’s license to rush to school. Dad drove Mom to work, which meant I would be home alone till about 5:30 after school. For reasons I’ll get into later, I was nothing short of ecstatic. CUT TO: BLACK. CAPTION: A BOATS AGAINST THE CURRENT PRODUCTION CAPTION: A SEAN MCGANN FILM CUT TO: EXT. SCHOOL PARKING LOT - MORNING Tails parks his truck. CAPTION: FURRY INT. HIGH SCHOOL - MORNING Tails walks into school, disheveled and carrying a backpack. He walks through the front entrance, around a corner, up some stairs and through two corridors. TAILS (V.O.) My name is Miles Steadman, but (MORE) (CONTINUED) 2. CONTINUED: (2) TAILS (CONT'D) everyone called me Tails, if anyone ever talked to me. To be perfectly honest, I think I gave myself that dumbass nickname because I was a hardcore Sonic the Hedgehog fanboy back in middle school, when it was acceptable. A Dr. Pepper Sonic lover, as Dave the Bastard once put it.
    [Show full text]
  • Comic Book Collection
    2008 preview: fre comic book day 1 3x3 Eyes:Curse of the Gesu 1 76 1 76 4 76 2 76 3 Action Comics 694/40 Action Comics 687 Action Comics 4 Action Comics 7 Advent Rising: Rock the Planet 1 Aftertime: Warrior Nun Dei 1 Agents of Atlas 3 All-New X-Men 2 All-Star Superman 1 amaze ink peepshow 1 Ame-Comi Girls 4 Ame-Comi Girls 2 Ame-Comi Girls 3 Ame-Comi Girls 6 Ame-Comi Girls 8 Ame-Comi Girls 4 Amethyst: Princess of Gemworld 9 Angel and the Ape 1 Angel and the Ape 2 Ant 9 Arak, Son of Thunder 27 Arak, Son of Thunder 33 Arak, Son of Thunder 26 Arana 4 Arana: The Heart of the Spider 1 Arana: The Heart of the Spider 5 Archer & Armstrong 20 Archer & Armstrong 15 Aria 1 Aria 3 Aria 2 Arrow Anthology 1 Arrowsmith 4 Arrowsmith 3 Ascension 11 Ashen Victor 3 Astonish Comics (FCBD) Asylum 6 Asylum 5 Asylum 3 Asylum 11 Asylum 1 Athena Inc. The Beginning 1 Atlas 1 Atomic Toybox 1 Atomika 1 Atomika 3 Atomika 4 Atomika 2 Avengers Academy: Fear Itself 18 Avengers: Unplugged 6 Avengers: Unplugged 4 Azrael 4 Azrael 2 Azrael 2 Badrock and Company 3 Badrock and Company 4 Badrock and Company 5 Bastard Samurai 1 Batman: Shadow of the Bat 27 Batman: Shadow of the Bat 28 Batman:Shadow of the Bat 30 Big Bruisers 1 Bionicle 22 Bionicle 20 Black Terror 2 Blade of the Immortal 3 Blade of the Immortal unknown Bleeding Cool (FCBD) Bloodfire 9 bloodfire 9 Bloodshot 2 Bloodshot 4 Bloodshot 31 bloodshot 9 bloodshot 4 bloodshot 6 bloodshot 15 Brath 13 Brath 12 Brath 14 Brigade 13 Captain Marvel: Time Flies 4 Caravan Kidd 2 Caravan Kidd 1 Cat Claw 1 catfight 1 Children of
    [Show full text]
  • View of the Colony Itself (Being on the Top Floor of the Security Building Has Its Rewards, If Only That One Reward Was a Nice Sunset Every Now and Again)
    The Bright Garden by Alex Puncekar Submitted in Partial Fulfillment of the Requirements for the Degree of Master of Fine Arts in the Northeast Ohio Master of Fine Arts Program YOUNGSTOWN STATE UNIVERSITY May, 2017 The Bright Garden Alex Puncekar I hereby release this thesis to the public. I understand that this thesis will be made available from the OhioLINK ETD Center and the Maag Library Circulation Desk for public access. I also authorize the University or other individuals to make copies of this thesis as needed for scholarly research. Signature: Alex Puncekar, Student Date Approvals: Christopher Barzak, Thesis Advisor Date Imad Rahman, Committee Member Date Eric Wasserman, Committee Member Date Dr. Salvatore A. Sanders, Dean of Graduate Studies Date ABSTRACT Calli Hayford lives on Kipos, a recently colonized planet far from Earth. Amongst the jungles and ravenous animals that threaten the various settlements across the planet’s surface, Calli is dealing with something much more dire: her sick mother, who is slowly dying from an unknown sickness. With funds scarce, Calli decides to do the impossible: to locate auracite, a rare mineral native to Kipos, in the hopes that it will provide her with the money to afford a cure. She leaves home with her friend, the sly and scruffy Sera, and encounters a whole new world outside of her own, one that will force her to answer questions she never knew she needed to answer: how far is she willing to go for someone she loves? iii Table of Contents Prologue 1 Chapter 1 6 Chapter 2 21 Chapter 3 35 Chapter 4 57 Chapter 5 80 Chapter 6 92 Chapter 7 123 Chapter 8 136 Chapter 9 156 Chapter 10 165 Chapter 11 192 Chapter 12 220 Chapter 13 245 Chapter 14 260 Chapter 15 279 Chapter 16 296 Chapter 17 313 Chapter 18 333 Chapter 19 358 Chapter 20 374 Chapter 21 387 iv Chapter 22 397 Epilogue 403 v Prologue Diana Hayford remembers Autumn.
    [Show full text]