MAX C GOLIGHTLY
| Nationality: | n/a |
| Literary Agent: *: | n/a |
| Email: | n/a |
| Website: | n/a |
* If shown, click on the literary agent's name for full contact details and links to all the Playwrights they represent.
Plays by Max C Golightly
Fauntleroy! |
| 1st Produced: | Lehi Community Theatre | - | ||||
| Company: | - | |||||
| 1st Published: | Eldridge Plays www.histage.com | ISBN/ASIN | - | |||
| To Buy This Play: | If Publisher (above) is underlined then the play may be purchased by direct click, otherwise (below) are AbeBooks for secondhand & 1st eds and other Booksellers for new copies | |||||
| Genre: | Family Musical | - | Parts: | Male | 17 | Female | 9 |
| Parts Other: | ensemble | |||||
| Notes: | written by C Michael Perry and Max C. Golightly; based on the Frances Hodgeson Burnet novel | |||||
| Synopsis: | The charming adaptation of the timeless classic, LITTLE LORD FAUNTLEROY. The original story that helped inspire "Little Orphan Annie." The tale of a wonderful, well-bred American boy, Cedric Erroll, who suddenly finds himself a member of the British aristocracy through his deceased father's inheritance. He leaves his life and friends behind him in New York City to travel to England where he will be trained by and live with a man he has never met, his grandfather, Lord Of Dorincourt. Troubles and set backs plague him but in the end he emerges -- "Fauntleroy!" | |||||
Rose |
| 1st Produced: | Brigham Young University | - | ||||
| Company: | - | |||||
| 1st Published: | - | ISBN/ASIN | - | |||
| To Buy This Play: | I don't think the play has been published but you could try abebooks.com or the playwright direct where their email is shown at the top of the page | |||||
| Genre: | Family Musical | - | Parts: | Male | 9 | Female | 5 |
| Parts Other: | ensemble, if desired | |||||
| Notes: | written by C Michael Perry, Max C. Golightly and Neil K. Newell | |||||
| Synopsis: | A challenging musical that dramatizes the life of Rose O'Neill, one of America's most beautiful and eccentric artists and the creator of, among other things, the Kewpie Doll. Her strong family support in the midst of almost overwhelming odds is a testament to the worth and viability of the family unit. Through divorce, death and financial disaster Rose and the O'Neill family weathered the storms of life -- together. It wasn't all bad. There was joy and harmony as well as the despair, among their tribulations. Though enormously wealthy during most of their lives, the O'Neills started with nothing but each other. And they ended with nothing but each other. This is a story for all ages and times. | |||||
Turn The Gas Back On! |
| 1st Produced: | Brigham Young University | - | ||||
| Company: | - | |||||
| 1st Published: | Eldridge Plays www.histage.com | ISBN/ASIN | - | |||
| To Buy This Play: | If Publisher (above) is underlined then the play may be purchased by direct click, otherwise (below) are AbeBooks for secondhand & 1st eds and other Booksellers for new copies | |||||
| Genre: | Musical | - | Parts: | Male | 6 | Female | 4 |
| Parts Other: | chorus | |||||
| Notes: | written by C Michael Perry, Max C. Golightly and Neil K. Newell | |||||
| Synopsis: | It's a zany show about a director and a troupe of actors trying to put on an improvisational musical inspired by a work of modern art. Roger Howard, Director of a small acting company, brings Marvin, a modern artist friend, to his theatre to see a rehearsal of some of the scenes of a play he's producing, for the purpose of convincing him it can be done with the same resulting effects and methods the painter gets with his avante- garde paintings. As the play within the play proceeds, the actors and actresses try to apply natural motivations to the meanings in the play. Impressed with a song sung by Adele, an actress past her prime, who is replacing a regular member of the company, Roger includes the song in the show and succumbs to her warm charms. Wayne and Morris, who play opposite Myra, have difficulty in switching from the real to the unreal characters in their efforts to understand what significance "the Object" has in development of the theme of the play. This is further complicated by the relationship of Lily, Roger's assistant, with her unknown to all mother, Adele. In the final scene Myra is carried away in her characterization of Looma, finally losing contact with her own identity. She is brought back to reality by the others when they realize that "the object" really belongs to the audience not the actors, for when a work of art is created and presented to the public, it becomes theirs--to be done with as they see fit. They give the object back to the audience in the end, because that is where it comes from. Actors emotions run the gamut. A challenging show. | |||||