THE STORY: It's a very special day at the racetrack, where Champagne Charlie, a race-track regular, has had a race named in his honor. A dreamer and teller of tall tales, Charlie is accompanied by his wife of fifty-three years, Mary Lee, an incur

MODERN FICTION. A hilarious and racy tale of one woman's romp through London's gangster underworld. Written with humour, wit and great attention to detail, Champagne, Charlie and Me plumbs the depths of the gangster underworld: the lines of cocaine, the champagne, the dodgy deals, the revenge killings. Gangland boss, Terry Millian, thinks he's got it all: the nightclub empire, the string of brothels, the brassy blonde on his arm. But what he doesn't know is that events from the past are about to catch up with him, and things will never be the same again. Seduced by the ostentatious wealth and the all-night parties, Nicola, a young innocent, is pulled down into a murky world of murder and revenge. Already having a drink problem herself, her immersion in the seedy nightclub business only makes the downward spiral more inevitable. Is it too late for her?

(Applause Books). The Applause Best Plays Yearbook was started by Burns Mantle in 1919 and has appeared every year since then, becoming the standard reference book for American Theater. This volume features synposes and excerpts for the ten best plays of the 1991-1992 season, including: Conversations With My Father * Crazy for You * Dancing at Lughnasa * The Extra Man * Fires in the Mirror * Lips Together, Teeth Apart * Mad Forest * Marvin's Room * Sight Unseen * Two Trains Running. This value-packed volume also includes Al Hirschfeld's complete gallery of the theater season as well as essays and statistics about the season around the United States, the Off-Off-Broadway season, the various awards, and more. Also includes lots of photos from the productions.

Champagne Charlie tells the story of a dashing young Frenchman, Charles Heidsieck, who introduced hard-drinking Americans to champagne in the mid-nineteenth century and became famously known as Champagne Charlie. Ignoring critics who warned that America was a dangerous place to do business, Heidsieck plunged right in, considering it “the land of opportunity” and succeeding there beyond his wildest dreams. Those dreams, however, became a nightmare when the Civil War erupted and he was imprisoned and nearly executed after being charged with spying for the Confederacy. Only after the Lincoln administration intervened was Heidsieck’s life saved, but his champagne business had gone bankrupt and was virtually dead. Then, miraculously, Heidsieck became owner of nearly half the city of Denver, the fastest-growing city in the West. By selling the land, Heidsieck was eventually able to resurrect his business to its former glory. For all its current-day glamour, effervescence, and association with the high life, champagne had a lackluster start. It was pale red in color, insipid in taste, and completely flat. In fact, champagne-makers, including the legendary Dom Pérignon, fought strenuously to eliminate bubbles. Champagne’s success can be traced back to King Louis XV and his mistress Madame de Pompadour, Napoleon Bonaparte, countless wars and prohibitions, and, most important to the United States, Charles Heidsieck. Champagne Charlie tells the history of champagne and the thrilling tale of how the go-to celebratory drink of our time made its way to the United States, thanks to the controversial figure of Heidsieck.

In this rich, imaginative survey of variety musical theater, Gillian M. Rodger masterfully chronicles the social history and class dynamics of the robust, nineteenth-century American theatrical phenomenon that gave way to twentieth-century entertainment forms such as vaudeville and comedy on radio and television. Fresh, bawdy, and unabashedly aimed at the working class, variety honed in on its audience's fascinations, emerging in the 1840s as a vehicle to accentuate class divisions and stoke curiosity about gender and sexuality. Cross-dressing acts were a regular feature of these entertainments, and Rodger profiles key male impersonators Annie Hindle and Ella Wesner while examining how both gender and sexuality gave shape to variety. By the last two decades of the nineteenth century, variety theater developed into a platform for ideas about race and whiteness. As some in the working class moved up into the middling classes, they took their affinity for variety with them, transforming and broadening middle-class values. Champagne Charlie and Pretty Jemima places the saloon keepers, managers, male impersonators, minstrels, acrobats, singers, and dancers of the variety era within economic and social contexts by examining the business models of variety shows and their primarily white, working-class urban audiences. Rodger traces the transformation of variety from sexualized entertainment to more family-friendly fare, a domestication that mirrored efforts to regulate the industry, as well as the adoption of aspects of middle-class culture and values by the shows' performers, managers, and consumers.