DOCSLIB.ORG

DO Letterhead 031818A.Indd

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
DO Letterhead 031818A.Indd Drama Online is an award-winning resource designed for literature and drama courses. Its collections are priced individually, available via subscription or perpetual access to schools, colleges and higher education institutions. Playtext Collections Core Collection: Originally created by Bloomsbury Publishing and Faber and Faber, the Core Collection currently includes over 1,775 playtexts from Methuen Drama, The Arden Shakespeare, and Faber and Faber. The platform also includes 700 images from the Victoria and Albert Museum and American Shakespeare Centre. From the works of Aeschylus in 5th Century BC to the present day, Drama Online provides unique access to the finest drama texts. Titles include the most highly regarded scholarly editions of Shakespeare —The Arden Shakespeare Series — as well as works from Henrik Ibsen, Bertolt Brecht, Harold Pinter, Oscar Wilde, Caryl Churchill, Simon Stephens, David Mamet and Katori Hall. The collection is continually updated with the very latest writing from new and established writers. Oberon Books Collection: launching with 252 titles and building to 500, this collection features a diverse gathering of canonical and contemporary drama including ground-breaking British plays, the best of international drama, and plays in translation. Nick Hern Books: Over 625 modern plays from specialist theatre publisher Nick Hern Books featuring pre- eminent playwrights including Howard Brenton, Jez Butterworth, and Caryl Churchill. Playwrights Canada Press: Over 175 plays from established and emerging Canadian playwrights including Daniel Maclvor, Hannah Mosovitch, and Colleen Murphy. Aurora Metro Books: With over 125 drama plays in print, including works from Robin Soans, Manjula Padmanabhan, and Germaine Greer, Aurora Metro Books has built a wide-ranging and highly contemporary list of new drama, with collections of women’s drama, international drama and drama by black and Asian writers. Audio Plays L.A. Theatre Works: 400 audio recordings from the most important audio theatre company in America. Highlights include iconic modern literary works, Pulitzer prize-winning titles and leading American playwrights such as Arthur Miller, David Mamet, and Eugene O’Neill. Critical Studies and Performance Practice Critical Studies & Performance Practice: Features over 370 academic eBooks from the prestigious Methuen Drama and The Arden Shakespeare imprints, offering invaluable critical, contextual and pedagogic content from leading voices in theatre, performance and Shakespeare studies. The title are grouped under Context and Criticism or Theatre Craft. PATAZ: Physical Actor Training – an online A-Z establishes a foundation for physical acting through 60 dynamic physical actor training videos with accompanying audio commentary, reflection and texts for today’s physical actor, teacher and trainer. Video Collections The National Theatre Collection: Drawing on 10 years of NT Live broadcasts, alongside high-quality recordings never previously seen outside of the NT’s Archive, the collection is now complete and contains 30 filmed performances including comedies, 20th Century classics, Shakespeare plays and literary adaptations. The RSC Live Collection: The Royal Shakespeare Company creates theatre at its best. Made in Stratford-upon- Avon and shared around the world, the RSC produces an inspirational artistic programme each year, setting Shakespeare in context alongside the work of his contemporaries and today’s writers. RSC Live 1 (2013-17 productions) 17 films from 2013 to the cutting-edge 2016-17 production of The Tempest starring Simon Russell-Beale. RSC Live 2 (2018-19 productions) 9 films from 2018 and 2019, including Twelfth Night starring comedy icon Adrian Edmondson. Shakespeare's Globe On Screen 1 (2008-2015): 21 films recorded live on the Globe stage from leading actors including Mark Rylance, Stephen Fry, and Roger Allam’s Olivier Award-winning Falstaff in Henry IV. Shakespeare’s Globe on Screen 2 (2016-2018): Features 9 landmark productions, including The Duchess of Malfi (2015), the first production from the indoor Jacobean theatre, the Sam Wanamaker Playhouse. The Donmar Shakespeare Trilogy on Screen: Phyllida Lloyd’s all-female trilogy, Julius Caesar, Henry IV, and The Tempest, set in a women’s prison. Led by renowned actor Harriet Walter, with an ethnically diverse cast drawn partly from ex-offenders, it stunned audiences on both sides of the Atlantic. The Stratford Festival Shakespeare Collection: 10 filmed performances including: Antony and Cleopatra, Hamlet, King John, King Lear, Love's Labour's Lost, Macbeth, The Adventures of Pericles, Romeo and Juliet, The Taming of the Shrew, Timon of Athens; with two more films in 2021 and a further two in 2022. The Classic Spring Oscar Wilde Collection: 4 great Victorian plays performed by Dominic Dromgoole’s new theatre company, founded as he left Shakespeare's Globe: A Woman of No Importance, Lady Windermere’s Fan, An Ideal Husband and The Importance of Being Earnest. The Hollow Crown: Shakespeare’s history plays featuring a star-studded cast including: Benedict Cumberbatch, Ben Whishaw, Judi Dench, Hugh Bonneville, and Tom Hiddleston. BBC Drama Films & Documentaries: Film adaptions of core curriculum plays from Sophocles, Anton Chekhov, Henrik Isben and Oscar Wilde alongside modern classics such as Copenhagen, by playwright Michael Frayn, starring Daniel Craig. Stage on Screen: Major early modern drama titles staged and filmed specifically for educational use: Doctor Faustus, The Duchess of Malfi, Volpone, and School for Scandal. Accompanied by cast and crew interviews. Maxine Peake as Hamlet: The first online debut for this sell-out hit starring Maxine Peake. Shakespeare in the Present: A Shakespeare acting masterclass from top international acting coach Patsy Rodenburg starring Joseph Fiennes. Shakespeare’s Heroes and Villains: Steven Berkoff, world-renowned writer, director, and actor known for his villainous Hollywood roles in Octopussy, Beverly Hills Cop, Rambo and The Krays, lifts the complex villains of Shakespeare from page to stage. This vividly direct and compelling film offers a unique exploration and analysis of Iago, the Macbeths, Shylock, Richard III, plus several heroes including Henry V, Coriolanus, and Oberon. Collections are priced individually to allow institutions to select only those that support specific needs. For additional information on Drama Online, please contact: Americas: [email protected] UK and Rest of World: [email protected] Australia and New Zealand: [email protected] Schools: UK, US International Schools, and Sixth Form Colleges: [email protected] .
Load more

Recommended publications
  • Four Sherlock Holmes and a Vampire (Who Is Also One of the Aforementioned Sherlock Holmes) a One-Page RPG Inspired by Justin Mcelroy V 1.2 Written by Andrew J
    Four Sherlock Holmes and a Vampire (Who Is Also One of the Aforementioned Sherlock Holmes) A one-page RPG inspired by Justin McElroy v 1.2 written by Andrew J. Young (with thanks to Marty McGuire) The Game In Four Sherlock Holmes and a Vampire (Who Is Also One of the Aforementioned Sherlock Holmes)—officially abbreviated Four Sherlock Holmes and a Vampire—four players play four Sherlock Holmes who team up to solve mysteries and one-up each other. Secretly, one or more Sherlock Holmes are Suspicious Quirks (d6) vampires. Can the four Sherlock Holmes find out who among them is a creature of the night? This game requires paper, pencils, a d6, and a d20. 1. You loathe the smell of garlic. 2. You’re a Transylvanian citizen. Getting Started 3. You’re allergic to vitamin D. Everyone describes their Sherlock Holmes. Players can each play a version of (No sunlight for you!) Sherlock Holmes (Benedict Cumberbatch, Robert Downey Jr., Basil Rathbone, 4. You are a bat enthusiast. Peter Cushing, etc.), or they can create their own wry, observant detective. 5. You have a neck fetish. Everyone rolls in secret to determine their Suspicious Quirk. 6. You are a vampire. (Plus, Setting the Scene choose two of the above.) These four Sherlock Holmes join forces to investigate a terrible crime. One player describes the crime scene in as much detail as they like (leaving out the crime) and then rolls on the Scene Details table. Another player chooses which of those two details to incorporate and then rolls on the Scene Details table again.
    [Show full text]
  • The RSC Duchess of Malfi
    Theatre of Blood: The RSC Duchess of Malfi by Erin E. Kelly. Published in 2018 Issue 1. For the production: The Duchess of Malfi (2018, Swan Theatre, Royal Shakespeare Company). Performance attended: 2018-04-11. See production details at the end of the review. RATHER THAN OPENING WITH THE PLAY’S DIALOGUE BETWEEN ANTONIO (PAUL WOODSON) AND HIS friend Delio (Greg Barnett), an exchange that establishes the contrast between the noble French court and the corrupt Italian political scene, Mari Aberg’s The Duchess of Malfi begins with the title character pulling across the thrust stage a life-sized, stylized animal carcass. (I believe this was meant to be a steer, but others have described it as a bull, a pig, or as a fictional animal. Not being a large-animal veterinarian, I will not claim my species identification is definitive.) Figure 1. Joan Iyiola as The Duchess and the Company. Photo by Helen Maybanks. Copyright Royal Shakespeare Company. Her stage action was presumably meant to foreshadow the myriad ways in which this female character would find herself in a world where she is oppressed by the masculine forces of her DOI: 10.18357/sremd01201819086 Scene. University of Victoria. 2018 Issue 1. 1 Swan Theatre–—Duchess of Malfi Erin E. Kelly dead first husband, her scheming brothers, and the patriarchy’s standards for feminine virtue. By the production’s end, however, I wondered whether we had more accurately been signaled that all involved in the production—including the audience—would be weighed down by unnecessary difficulties. Figure 2. Joan Iyiola as The Duchess.
    [Show full text]
  • The Duchess of Malfi Announced
    Press release: Thursday 12 September The Almeida Theatre announces Associate Director Rebecca Frecknall’s new production of John Webster’s revenge tragedy The Duchess of Malfi, with Lydia Wilson in the title role. The production opens on Tuesday 10 December 2019, with previews from Monday 2 December, and runs until Saturday 18 January 2020. It follows Frecknall’s previously acclaimed Almeida productions of Three Sisters and the Olivier Award-winning Summer and Smoke. THE DUCHESS OF MALFI by John Webster Direction: Rebecca Frecknall; Design: Chloe Lamford; Costume: Nicky Gillibrand; Light: Jack Knowles; Sound: George Dennis Cast includes: Lydia Wilson. Monday 2 December 2019 – Saturday 18 January 2020 Press night: Tuesday 10 December 7pm “Whether we fall by ambition, blood or lust Like diamonds, we are cut with our own dust” You fall in love. You get married. You have children. You live happily ever after. Almeida Associate Director Rebecca Frecknall follows her Olivier Award-winning production of Summer and Smoke and Three Sisters with The Duchess of Malfi, John Webster’s electrifying revenge tragedy about rage, resistance and a deadly lust for power. John Webster (1580 – 1634) was an English dramatist and contemporary of William Shakespeare, best known for his tragedies The White Devil and The Duchess of Malfi. Rebecca Frecknall is Associate Director at the Almeida Theatre. For the Almeida, she has directed Three Sisters, Summer and Smoke (also West End and winner of two Olivier Awards including Best Revival) and worked as Associate Director on Ink at the Almeida/Duke of York’s Theatre and Movement Director on Albion.
    [Show full text]
  • Copy of Copy of Copy of Streetwear Creative Wide Presentation
    "Life's most persistent and urgent question is; what are you doing for others?" -MLK OUR VISION For over a decade, MDC has helped establish rewarding relationships between thousands of individuals, businesses and charities who care deeply about the well-being of others and the community. Through our work (video production, event planning & consulting) we want to share stories that matter, organize events that build bridges, highlight extraordinary individuals, create simple and effective ways of giving back, and act as professional matchmakers. Our mission has always been to connect the people who want to help with the people who need help the most. From the start, we've witnessed heartbreaking scenarios where trauma and hardship causes a child or family to feel isolated and hopeless. Despite what we're taught, time is more precious than gold and we strive to make every day, hour and minute count. The world does not stop when tragedy strikes; but good people can and do. We enlist the help of caregivers across every business sector around the globe and rely on them to help us create special moments in time that bring hope and joy to those suffering through hardship. We've created an Active Response Team; an unofficial team of do-gooders who are willing to step up to the plate when needed. And just like the word "team" signifies, together everyone achieves more. MDC works by cause, not by client -- and in doing so, it allows us to foster collaboration and look after the interests of all involved. The impact we make by working together is more powerful and far-reaching than most individuals can achieve on their own.
    [Show full text]
  • IWU London Program
    IWU London Program Prof. Edgar Lehr Join us in London! Illinois Wesleyan University established its London 2018 London Director Program to provide students with a chance to study abroad in the first Illinois Wesleyan University is pleased semester of the sophomore or junior year while earning credit toward four to announce that Dr. Edgar Lehr, General Education requirements. The IWU London Program offers you a Professor of Biology, will direct the 2018 IWU London Program. close connection to an IWU faculty member, who acts as the program A specialist in the biodiversity of director, and to a cohort of IWU students while you pursue the General amphibians and reptiles in the Education goals of independence, critical thinking, imagination, social neotropics (Peru). Professor Lehr has awareness, and sensitivity to others. Specifically, a semester abroad will extensive experience living and working abroad and has taught in the US, prepare you for responsible citizenship and leadership in a global economy. Germany, Hong Kong, and Peru. In London, Prof. Lehr will offer London, the City “Understanding Evolution” (LSI, London is one of the world’s greatest Global Diversity). As he says, the course is “a perfect fit for London, where cities. With a history that spans Darwinian evolution had its origins.” centuries, London offers students the As part of the course, students will visit opportunity to visit Roman ruins, the Natural History Museum and medieval religious structures, a Museum of Science, the Darwin House reconstruction of Shakespeare’s Museum, the London Zoo, and Kew Globe Theatre, Winston Churchill’s Botanical Garden. In addition, Prof.
    [Show full text]
  • MDC 2018 Newsletter
    H A P P Y H O L I D A Y S F R O M M D C To our esteemed colleagues, partners, and friends: Happy Holidays from our family to yours! 2018 was a busy year as we strived to break new ground, establIisNh n TewH paIrStn eIrSshSipUs aEnd continue to create unique and exciting opportunities for businesses and individuals who want to make a positive difference. It's impossible to see the suffering of so many people and do nothing; which is why we created this platform to give them a voiSceT.U ADsI Oa mSoNtEheArK t oP aE EyoKuSng daughter, I know if I ever found myself in any of these heartbreaking circumstances I'd be praying someone out there would care enough to fight for me because I'd be too busy fighting to save my child. This is why I've built this company; to foster a sCtrEoLngEeBrR sIeTnYs e of community and provide trustworthy direction and resources for those who wRanEtS toP OheNlpD.E TRhSe re are many ways to give back...whether it's donating time, money or your voice in support of those in need. We lost many precious young friends this year and during those RtiEmSePs OI'mN DeEaRsiSly IoNv erwhelmed, but then someone steps in with a random act of kindness and I'mA CbTacIOk Nto feeling hopeful and optimistic. It's so important to bring moments of lightness in times of darkness or heaviness. While these happy times won't cure anyone physically, they can bring mental and emotional healing and serve as a much-needed reminder to others that theVy'IrDe EnOot CalAoMneP iAnI tGhNeiSr battles.
    [Show full text]
  • Italian Perspectives on Late Tudor and Early Stuart Theatre
    Early Theatre 8.2 Issues in Review Richard Allen Cave Italian Perspectives on Late Tudor and Early Stuart Theatre The general focus of art exhibitions in Italy has changed significantly in recent years; the objective of this essay is to outline how such a change holds considerable value for the historian of early modern theatre and demonstrates innovative potential for the dissemination of theatre scholarship. Nowadays galleries offer fewer blockbuster retrospectives of the collected works of the painters who constitute the canon; such retrospectives were designed to be seen in a calculated isolation so that viewers might contemplate aesthetic issues concerning ‘development’. This style of exhibition now tends to travel to London, Washington, Boston, Tokyo, so that masterpieces now in the collec- tions of major international galleries may be seen in relation to less familiar work from the ‘source’ country (chiefly, one suspects, to have that status of masterpiece substantiated and celebrated). An older style of exhibition in Italy, which centred less on the individual painter and more on genres, has returned but in a markedly new guise. Most art forms in the early modern period were dependent on patronage, initially the Church, subsequently as an expression of princely magnificence. Some Italian artists were associated with a particular dynasty and its palaces; others were sought after, seduced to travel and carry innovation with them into new settings. The new style of exhibition celebrates dynastic heritage: the Gonzaga at Mantua (2002); Lucrezia Borgia’s circle at Ferrara (2002); le delle Rovere at Urbino, Pesaro, Senigallia, Urbania (2004). As is indicated by this last exhibition, the sites have shifted from traditional galleries into the places where each dynasty flourished, often as in the case of the delle Rovere being held in a variety of palatial homes favoured by the family 109 110 Richard Allen Cave as their seats of power and of leisure.
    [Show full text]
  • Amazing Grace
    AMAZING GRACE UK, 2006, d. Michael Apted It is said that the hymn Amazing Grace is the best known in the English- speaking world. Most would not know that it was written by a ship’s captain, heavily involved in the 18th century slave trade, who experienced a conversion and devoted his later life to prayer and reparation. His name was John Newton – and he is played most movingly here by Albert Finney. However, the focus is on the anti-slavery campaigner, William Wilberforce. He is played with intensity and conviction by television’s Captain Horatio Hornblower, Ioann Gryffudd. And he is supported by a fine and extensive British cast including Michael Gambon as Lord Fox, Benedict Cumberbatch as the young Prime Minister, William Pitt, Rufus Sewell as the activist the Rev. Thomas Clarkson, Ciaran Hinds as the arrogant Lord Tarleton of Liverpool and Romola Garai as Barbara Spooner who eventually married Wilberforce. Most audiences will find Amazing Grace a significant cinema experience. Its style is very much the British heritage recreation of a period, a meticulous presentation of period, costumes, décor and the atmosphere of the times – which culminates in a moving brass band rendition of Amazing Grace. But, what will be important for audiences is the theme of the inhumanity and injustice of slavery and the fact that the plantations of the West Indies and the Americas depended for their prosperity on slave labour and the urban wealth of the 18th century metropolises, especially those in Britain and America, was based on slavery. 2007 sees the 200th anniversary of the Act for Abolition of the Slave Trade throughout the British Empire, although the final Slavery Abolition Act was not passed until 1833, the year of William Wilberforces’s death.
    [Show full text]
  • Playing Shakespeare with Deutsche Bank Production of Twelfth Night
    2016 shakespeare’s globe Annual review contents Welcome 5 Theatre: The Globe 8 Theatre: The Sam Wanamaker Playhouse 14 Celebrating Shakespeare’s 400th Anniversary 20 Globe Education – Inspiring Young People 30 Globe Education – Learning for All 33 Exhibition & Tour 36 Catering, Retail and Hospitality 37 Widening Engagement 38 How We Made It & How We Spent It 41 Looking Forward 42 Last Words 45 Thank You! – Our Stewards 47 Thank You! – Our Supporters 48 Who’s Who 50 The Playing Shakespeare with Deutsche Bank production of Twelfth Night. Photo: Cesare de Giglio The Little Matchgirl and Other Happier Tales. Photo: Steve Tanner WELCOME 2016 – a momentous year – in which the world celebrated the richness of Shakespeare’s legacy 400 years after his death. Shakespeare’s Globe is proud to have played a part in those celebrations in 197 countries and led the festivities in London, where Shakespeare wrote and worked. Our Globe to Globe Hamlet tour travelled 193,000 miles before coming home for a final emotional performance in the Globe to mark the end, not just of this phenomenal worldwide journey, but the artistic handover from Dominic Dromgoole to Emma Rice. A memorable season of late Shakespeare plays in the Sam Wanamaker Playhouse and two outstanding Globe transfers in the West End ran concurrently with the last leg of the Globe to Globe Hamlet tour. On Shakespeare’s birthday, 23 April, we welcomed President Obama to the Globe. Actors performed scenes from the late plays running in the Sam Wanamaker Playhouse at Southwark Cathedral, a service which was the only major civic event to mark the anniversary in London and was attended by our Patron, HRH the Duke of Edinburgh.
    [Show full text]
  • Proposal-Third/Final Draft
    Proposal for Senior Honors Thesis HONS 497 Senior Honors Thesis Credits ___3___ (2 minimum required) Directions: Please return signed proposal to the Honors Office at least one week prior to your scheduled meeting with the Honors Council. This proposal must be accepted by Honors Council the semester before presentation. Student’s Name: Samantha N. Snively Primary Advisor: Dr. L. Monique Pittman Secondary Advisor: Thesis Title: “Subverting a Foucauldian Authority in Webster’s Duchess of Malfi” Local phone: Email: Expected date of Graduation: I. Provide goals and a brief description of your project or research. Arguably John Webster’s most well-known play, The Duchess of Malfi was first performed in 1613 or 1614 and published in 1623. Nineteenth-century critics lauded the works of John Webster as most closely approaching the standard of William Shakespeare’s plays. Still staged today, The Duchess of Malfi is one of the more popular examples of Jacobean revenge tragedy, or Senecan tragedy, and exhibits many of the characteristics typical of the genre: ghosts, revenge, torture and mutilation, and extensive carnage. Malfi is notable among its contemporaries for featuring a strong, independent female in the title role; and even more so because the Duchess resists classification into either one of the two roles typically assigned to women in Elizabethan and Jacobean drama, that of the whore or the idealized, chaste woman. The Duchess of Malfi centers on the title character’s choice to marry her steward Antonio against the wishes of her brothers, Duke Ferdinand and the Cardinal. When her brothers find out about her forbidden marriage, they begin a program of psychological torture and revenge that ends in her murder.
    [Show full text]
  • June 2016 President: Vice President: Simon Russell Beale CBE Nickolas Grace
    No. 495 - June 2016 President: Vice President: Simon Russell Beale CBE Nickolas Grace Nothing like a Dame (make that two!) The VW’s Shakespeare party this year marked Shakespeare’s 452nd birthday as well as the 400th anniversary of his death. The party was a great success and while London, Stratford and many major cultural institutions went, in my view, a bit over-bard (sorry!), the VW’s party was graced by the presence of two Dames - Joan Plowright and Eileen Atkins, two star Shakespeare performers very much associated with the Old Vic. The party was held in the Old Vic rehearsal room where so many greats – from Ninette de Valois to Laurence Olivier – would have rehearsed. Our wonderful Vice-President, Nickolas Grace, introduced our star guests by talking about their associations with the Old Vic; he pointed out that we had two of the best St Joans ever in the room where they would have rehearsed: Eileen Atkins played St Joan for the Prospect Company at the Old Vic in 1977-8; Joan Plowright played the role for the National Theatre at the Old Vic in 1963. Nickolas also read out a letter from Ronald Pickup who had been invited to the party but was away in France. Ronald Pickup said that he often thought about how lucky he was to have six years at the National Theatre, then at Old Vic, at the beginning of his career (1966-72) and it had a huge impact on him. Dame Joan Plowright Dame Joan Plowright then regaled us with some of her memories of the Old Vic, starting with the story of how when she joined the Old Vic school in 1949 part of her ‘training’ was moving chairs in and out of the very room we were in.
    [Show full text]
  • Favourite Poems for Children Favourite Poems For
    Favourite Poems JUNIOR CLASSICS for Children The Owl and the Pussycat • The Pied Piper of Hamelin The Jumblies • My Shadow and many more Read by Anton Lesser, Roy McMillan, Rachel Bavidge and others 1 The Lobster Quadrille Lewis Carroll, read by Katinka Wolf 1:58 2 The Walrus and the Carpenter Lewis Carroll, read by Anton Lesser 4:22 3 You Are Old, Father William Lewis Carroll, read by Roy McMillan 1:46 4 Humpty Dumpty’s Song Lewis Carroll, read by Richard Wilson 2:05 5 Jabberwocky Lewis Carroll, read by David Timson 1:33 6 Little Trotty Wagtail John Clare, read by Katinka Wolf 0:51 7 The Bogus-Boo James Reeves, read by Anton Lesser 1:17 8 A Tragedy in Rhyme Oliver Herford, read by Anton Lesser 2:25 9 A Guinea Pig Song Anonymous, read by Katinka Wolf 0:47 10 The Jumblies Edward Lear, read by Anton Lesser 4:06 2 11 The Owl and the Pussycat Edward Lear, read by Roy McMillan 1:35 12 Duck’s Ditty Kenneth Grahame, read by Katinka Wolf 0:40 13 There was an Old Man with a Beard Edward Lear, read by Roy McMillan 0:17 14 Old Meg John Keats, read by Anne Harvey 1:24 15 How Pleasant to Know Mr Lear Edward Lear, read by Roy McMillan 1:31 16 There was a naughty boy John Keats, read by Simon Russell Beale 0:35 17 At the Zoo William Makepeace Thackeray, read by Roy McMillan 0:29 18 Dahn the Plug’ole Anonymous, read by Anton Lesser 1:14 19 Henry King Hilaire Belloc, read by Katinka Wolf 0:47 20 Matilda Hilaire Belloc, read by Anne Harvey 2:35 3 21 The King’s Breakfast A.A.
    [Show full text]