85 books like On the Stage and Off

This book taught me so much I didn’t know about the women working in theatre in Edwardian Britain, particularly behind the scenes. They were by and large the antidote to the (male) actor-managers who ruled the roost over the West End at the turn of the 19th/20th centuries. They were responsible for introducing Ibsen in his original form to cautious London audiences, and for creating something called the Actress’ Franchise League, which I’d never heard of before. It’s a broadly-researched book and very easy to read. 

I’ve often wondered how it was that actors went from the ‘rogues and vagabonds’ of Shakespeare’s time through the days of early Victorian theatre, when acting was considered a highly disreputable profession, to apparent respectability at the end of the 19th century with the creation of the first theatrical knight, Sir Henry Irving. This book—again meticulously- and widely-researched—explains in a highly readable form how changing attitudes among politicians, audiences, and playwrights contributed to the rise in the status of actors, so that by the beginnings of the 20th century it was considered perfectly respectable for even a middle-class man—or woman—to enter the profession.  

This is an apparently ‘true’ account of the first-ever production of Bernard Shaw’s Pygmalion (from which sprang My Fair Lady), directed by Shaw himself—in the days when playwrights mostly directed their own work—and featuring two theatrical giants: Herbert Beerbohm Tree as Professor Higgins and Mrs. Patrick Campbell as Eliza Doolittle. Tree, who as an actor liked to don disguises in the form of false noses and wigs, was incapable of playing ‘straight’, and Shaw, with what appears to be the patience of a saint, had a right old time dissuading him from giving Higgins a limp and a Scottish accent. Meanwhile Mrs. P—ironically, bearing in mind the story of the play—struggled with her cockney accent and disappeared from the last week of rehearsals without telling anyone where she’d gone. (She was getting married for the second time.) I don’t know how ‘true’ this all is but it makes for… show more.

This great book gives a comprehensive and amusing overview of English society in the Edwardian period and the battle between what the author calls the Established Order and New Ideas, as reflected in the theatre and women’s role in society in particular. There is a very funny description of the role of the Censor, an employee of the Lord Chamberlain called the Examiner of Plays, an ex-bank manager who made his own rules according to his own whim and was accountable to nobody. The book also covers topics such as the popularity of ‘theosophy’ and the occult; and the prevailing hypocrisy of the Old Order as epitomised in the attitude of the monarch, King Edward VII, who tolerated ‘irregular’ behaviour so long as it was discreet, and condemned public immorality while indulging in affairs left right and centre.

Widge is an orphan in Elizabethan England, where orphans are sadly too common. But Widge is unusual. He has a unique talent which he learned from his first master: he knows a secret kind of shorthand. Sold to a dastardly villain who wants to use that talent to steal Shakespeare’s newest play, Widge finds himself in London apprenticing with the theatre company. Will he steal the play or risk his life to be loyal to the only “family” he’s ever known? Inspired by Shakespeare’s Lord Chamberlain's Men – and a very real problem of plays being stolen – there’s plenty of action, including swashbuckling swordplay. From the first page, I found myself rooting for Widge, hoping he would make the right choice and live to become an actor in the company.

If you’ve ever seen Billy Porter werk the red carpet, you know he doesn’t hold anything back. His memoir is no exception. And while the challenges he’s faced as a Black, Queer person are as unique as his talent, every theatrer-maker can identify with his dreams, his passions, and his disappointments. I so admire his courage in calling out hypocrisy in our business while simultaneously demonstrating the grace to call in for healing. 

“Bat shit is patient.” Simple, clear, dead on to describe the crazy life-clowns that leap from dark corners as I fend off grief... loss.

I Was Better... may not be a “grief” book, per se, but Fierstein dances us through the fears, struggles, and losses in his journey to live a life he wants. His quote, “Look back, but don’t stare” felt as though he quoted it for me to help deal with many joyous and painful memories of my husband.

I Was Better... is a tropical island where I could escape the squalls of my life of loss. I relished his musicals, strode the flamboyant streets of New York, and was embraced by Fierstein’s poignant and dearly funny honesty. His rage against the night was mine too. He and I kept dog paddling – together.

I have zero fascination with celebrities, but remain a sucker for a showbiz memoir as told by a true raconteur. And though you might never have known it from the pretty-boy reputation cemented firmly by his 80’s era film oeuvre, Rob Lowe ranks right up there with George Hamilton in both his having known pretty much everybody in Hollywood, but also having a great story to tell about each one. At turns self-deprecating, deeply touching, brutally honest, and laugh-out-loud funny, Lowe’s Stories doesn’t dish any dirt—so if that’s what you’re looking for, you might want to look elsewhere. But if you’d like an inside peek at Hollywood as told by a Gen-X icon in his own words (no ghostwriters here!), you can’t go wrong here.

Carrie Fisher is a phenomenal writer whose Hollywood upbringing and career makes her insightful voice when it comes to the experience of women in film.

Turning the diaries she kept while shooting Star Wars – playing the iconic Strong Female Character, Princess Leila – into a memoir offers and eye-opening perspective about life as an actress working in a male-dominated world.

It’s full of humour, self-deprecation, and real vulnerability, as well as juicy tidbits about the production.

This is probably the most challenging read here, but so worth the effort if you want to dive deep into one of the most unique artistic minds of our time. If you’re not a trained actor, you might not understand all of the nuances here – Mamet is a definite theater guy and doesn’t stop down to explain every detail here -- but any artist can learn Mamet’s biting, witty, shocking creative tips. I recommend just letting this one wash over you the first time, but if you give yourself to this text and to Mamet, it is sure to give you a new perspective on the way we all create art and hopefully inspire you to delve into some creative expression that you were always too scared to try.