Affäre Loverboy (Tiffany) (German Edition)

Affäre "Loverboy"

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In this, Workman and Barry follow Nietzsche in distilling the essence of Euripedes' story down to a dialectical opposition between the regulatory governmentality of the Theban boy-king, Pentheus, and the anarchic sexual abandon of a transvestic foreign god, Dionysus. That Dionysus also happens to be Pentheus' cousin is a further complication of kinship exacerbated by the fact that Pentheus' own mother, Agave, has abandoned her domestic duties to follow the god's rites on Mt.

Here, too, this version of the myth is following the standard line of pitting rebellious femininity against repressive masculinity. And while this might be a somewhat reductive reading of Euripedes' story Workman and Barry conveniently get rid of Cadmus and Tiresias , playing with these ideological binaries does produce some truly thrilling musical and narrative contrasts. In the latter, Workman seems to be channelling Charles Mee whom he acknowledges in the program notes, and whose Bacchae 2.

In the end, as Workman sings an epilogue called "They Decided Not to Like Us," there can be no mistaking which side of the Bacchic equation he favours. For Dionysus, we must recall, is not just the god of wine, but also the god of theatre. And Workman is gloriously, unapologetically theatrical. If all else fails there is still this space of the theatre for the outcasts and freaks of society to gather to imagine a different world.

There were some truly sublime moments in the second half of last night's performance of Wen Wei Dance 's 7th Sense , presented by DanceHouse at the Vancouver Playhouse: Ballet BC alum Alyson Fretz being pushed and pulled and nudged and nestled by the other dancers at the outset, before leading them in a series of gorgeous sequential line movements that evoked images of Chinese dragons undulating and being shaken at a New Year's parade; choreographer Wen Wei Wang and performer Brett Taylor in a moving duet in the middle that featured stunning lifts and spins; and the closing duet between Taylor and Jung-Ah Chung a tiny powerhouse of a mover that ended memorably with Taylor on all fours and Chung perched on his back, both staring out at the audience.

However, the precision and control of these sequences were in sharp contrast to the general shapelessness of the group improvisations in between, with the inchoateness of the individual dancers' movements and their at times mystifying explorations of scenic space in which one body might be firmly positioned in front of another, thereby obscuring the latter's movements reading to me as too much filler. I get, from Wang's program note, that such contrasts were part of the exploratory process of building the work. And yet, while by no means do I think dialectical oppositions always need to result in synthesis, Hegelian that I am, I do prefer there to be some sort of sense-connection cognitive and kinetic between them that leads to a new form of perception.

Which is why I am also at a loss in figuring out how the first half of the work fits with the second. A compact 20 minutes, 7th Sense 's first act appears to take its cue from Wang's efforts to infiltrate or insert himself between the rest of the group of dancers, massed to begin with upstage left. Oblivious at first, the dancers eventually turn on Wang quite literally , encircling and threatening him with a series of cartoonish martial arts moves.

A metaphor, perhaps, for the choreographic process. Whatever the case, I did learn at intermission that this opening was relatively new, Wang having scrapped his original concept after feeling dissatisfied with it at the work's premiere in Edmonton in February. I am sure Wang will continue to refine the rest of the work as well, and I look forward to revisiting it again in the future--when I have no doubt my sense of what it will have become by then, and what it was now, will have changed. Based on the Moss Hart and George S.

In the first scene, set in , we are introduced to our protagonist, Frank Shepard, a big-time Hollywood film producer who, we learn, has abandoned his earlier aspirations to write musicals and, along with them, his writing partner Charlie and their mutual friend, Mary. Thereafter we gradually learn how Frank "got here" as Sondheim's opening number repeatedly declaims , moving backwards in time to discover, in turn: Which perhaps explains some of the Schadenfreude the New York critics took in "bringing him down" over the original production.

A more interesting reading to me, having just seen with Richard the Menier production last night in a "live capture" simulcast at the Scotiabank Cinemas, has to do with Sondheim's critique of heteronormativity, and marriage in particular. And director Maria Friedman certainly plays up the homosocial elements of Frank and Charlie's partnership, with Mary, unrequitedly in love with Frank, the classically Sedgwickian female pivot through which they filter their affection for each other.

Then, too, as Richard pointed out, Sondheim's score also seems to be doing something interesting, using the reverse chronology of the play to strip the complexity of the orchestrations and tonal structures back to essential core elements that the composer seems to be associating with a classic era of musical production in America. Rather, I think that what Sondheim is showing us is his own compositional process, a process that is both complexly innovative and richly historical, at once creative and deconstructive.

And all of this within a score that has been read as one of his more accessible and there are witty allusions to Frank and Charlie needing to write more hummable tunes. Posted by Peter Dickinson at Hosted by Charlie Demers and curated by Woodpigeon's Mark Andrew Hamilton, the evening featured a line-up of local musicians covering the songs of fellow Vancouver artists past and present. Highlights included Veda Hille's smoking version of Loverboy's "Working for the Weekend" complete with Mike Reno-esque head band, but sans the hot pink leather pants and The Wintermitts's closing take on Carly Rae Jepson's ubiquitous "Call Me Maybe," which had the crowd led by yours truly up and dancing.

Programs for the Festival were flying off tables, and our website goes live today for ticket sales and PuSh Pass bookings. It's a stellar line-up of shows, so be sure to book early. You can do so here. Sunday, November 3, Sushi on the Menu. Liquid Loft 's Running Sushi , which concluded its run at The Dance Centre yesterday evening, arrived in town as one of the buzzed-about international shows of the fall season.

Fortunately Richard and I had already reserved our tickets. Given titles like "fruit," and "birth," and "dream," and "manga," the scenes play out on a long, rectangular raised white dais, with Cumming and Schoofs positioned at opposite ends, flipping through their respective stacks of cards to prepare for the sequence that comes next. As Haring has commented, the piece was conceived and choreographed to look like the embodied equivalent of Japanese manga. Dressed alike in jeans undershirts, Cumming and Schoofs were very much cartoon figures, an animated Adam and Eve playing out the dailiness of their relationship as a series of flat, mostly static, and non-sequential panels that are all surface and no depth.

To this end, the movement, while precise and carefully calibrated to the acoustic score, was deliberately banal and mostly interchangeable, an outline sketched by the performers in blue and grey that the audience was then left to colour in. The effect was like that of a slide-show where the pictures all start to look the same, producing an uncanny sense of deja vu that is at once comforting and unsettling. Or, on the other hand, think of those traveling boats of sushi filled with maki and tuna rolls that individually all look--and frequently taste--the same but that collectively add up to a very satisfying meal.

The piece begins with Strehlke closing her eyes and Johanssson whispering her name; Strehlke leans into the call, and this becomes the mechanism for a solo exploration of the body moving through space, with Strehlke guided only by Marc Stewart's music and Johannson's beckoning signposting. Eventually Strehlke comes to a stop and the sequence is repeated, this time with Johansson closing his eyes and Strehlke serving as guide. Physical contact is, however, eventually made by the two dancers, with two sequences of inventive partnering featuring great floor and wall work especially standing out.

In between, Bingham also includes a long stretch of unison movement--unusual for him, but structurally very effective in this piece. It's a fierce exploration of grrrlness that uses an eclectic musical score and a range of bodily tempos and rhythms to show a spectrum of female "fronts. By the end of the piece, however, as they move back and forth between upstage and downstage, showing us just how fully in their bodies they are, they are very much in our faces, and the piece builds to a thrilling climax. The final piece on the program was my colleague Rob Kitsos's Con-found , an experiment in real-time composition created in collaboration with students and alumni from SFU's School for the Contemporary Arts.

Losing things--wallets on rollercoasters, phone numbers, one's memory--becomes the thematic refrain around which the performers build a series of movement, textual, and musical phrases, choosing when and how to build the work as a whole in the moment of performance itself. The text may, at times, have dominated the movement, and sometimes transitions were lost in the confusion of bodies criss-crossing the stage; however, there were also sublime moments of supplementation and synchronicity, when the repetition or steady accretion of a simple gesture hands fluttering before chests and the arrangement of bodies on stage in horizontal or vertical lines, in aligned pairs on the floor or against a wall were starkly beautiful.

Friday, October 25, Dancing Emily Dickinson. I enjoyed the talkback more than the performance itself. Last night, at the Cultch , iconic Canadian solo dancer Margie Gillis and American actress Elizabeth Parrish presented the world premiere of their spoken word and movement collaboration, Bulletins from Immortality The work was much as I have just described it: Parrish, armed with a talismanic black notebook, read from Dickinson's poems while Gillis interpreted the words in movement. I was relieved to see that the poetry was presented unadorned, without any additional biographical scaffolding.

Parrish has a rich and sonorous voice, one that captures the unique syncopation of Dickinson's meter and slant rhymes. However, I found Gillis' dancing a bit too mimetic for my liking, with the result that the movement became largely illustrative rather than aesthetically juxtapositional or conceptually dialectical which, I would argue, is at the heart of Dickinson's disputational poetry. That said, Gillis remains one of the most emotionally open performers working today, and however diminished her range of movement in this, her fortieth year of dancing, her presence on stage is still a force to be reckoned with.

Then came the talkback, where the architecture of the piece was revealed to have a few more layers of complexity than at first might be supposed. For example, Parrish discussed her choice of poems, noting that they were carefully selected to provide a thematic and emotional through-line to the piece. And in answer to my question of how one dances Dickinson's famous dashes which, as I further explained, was meant to solicit thoughts on how the distinctive punctuation, as a marker of breath and musicality in the movement of a poetic line on the page gets translated into a line of movement on stage , Gillis talked in detail about how the choreography throughout the piece variously follows, anticipates and is in synch with Parrish's voice.

As Gillis noted in response to another question, she has been dancing to literary works since the start of her career, and we can thus trust that she knows what she's doing. Judging by last night's enthusiastic response to this work--and my caveats notwithstanding--she's right. Thursday, October 24, Modular Music on Main. Yet the pairing absolutely worked.

First up was the world premiere of The Perruqueries , a set of five songs on the theme of "wigs gone awry," with text by Bill Richardson and music by Jocelyn Morlock, Modulus' composer-in-residence. The duo was commissioned by soprano Robyn Driedger-Klassen, baritone Tyler Duncan, and pianist Erika Switzer, and it proved an inspired collaboration. Morlock's score matches Richardson's referentiality, a pastiche of musical quotations ranging from Puccini to the Canadian national anthem. All of this is handled by Dreidger-Klassen and Duncan with just the right mix of personality and dramatic flair, their voices rich and sonorous, their diction impeccable, and the personas they adopt never upstaging the music, which was played with spritely aplomb by Switzer.

After a brief set change, we were treated to four songs by the American composer Caroline Shaw, who recently won the Pulitzer Prize in music for a choral work that will receive its Canadian premiere this evening as part of the final program of the Festival. I gather that Shaw composes mostly for--and upon her own--voice.

Last night she shared with us four traditional songs from her native North Carolina, all in their way meditations on death and passing in which, as she told us, she was trying to "liquify" the notes. She was aided in this endeavor by the Calder Quartet Benjamin Jacobson and Andrew Bulbrook on violin, Jonathan Moerschel on viola, and Eric Byers on cello , who plucked and knocked their instruments as much as they drew their bows across strings. As for Shaw's voice, it's a beautiful instrument, not necessarily wide in range, but pure of timbre, with Shaw able to stretch notes horizontally in a way that is deeply resonant both acoustically and emotionally.

Not so much the sound of lamentation as of consolation. After a day that included a memorial service, it was an appropriate end to the evening. I regret that an imminent dash to the airport means I cannot do the three works that make it up full justice. But suffice to say that in conception and execution the program definitely shows the company has reached a higher level.

As a colleague from UBC exclaimed to me during the second intermission, "these dancers are fantastic! I and I am You once again displays Elo's amazing musicality, built as it is around several familiar pieces by Bach and one Schumann fugue. It features some stunning ensemble work from the men, punctuated by beautiful duets.

Drawing on an eclectic range of source "texts" for the piece, the work features some of Molnar's most inspired choreography, with the men again working very tightly as a group. Solos by favourites Livona Ellis and Rachel Meyer also stood out. I do wish, however, Molnar would find a way other than running and sliding to get her dancers on and off the stage. Whipped into a frenzy by Ravel's crescendoing orchestral score and Inger's fast and furious unison movement, one is jolted suddenly into another emotional register with the lone piano and the slow, mournful movement that follows. A fitting final act for Wallace, who I understand is retiring after this program.

Wednesday, October 9, Siminovitch and Stravinsky. In the Globe and Mail yesterday an announcement of the three directors nominated for the latest installment of the Siminovitch Prize in Canadian Theatre. However, after last year's award it was announced the prize would be suspended due to a lack of sufficient funds in its endowment. Fortunately, over the summer the University of Toronto and the Royal Bank of Canada Foundation stepped in to shore up the finances, and the award is back on track. Among this year's nominees, I know Chris Abraham's work best.

That film, which I briefly blogged about here , was as much about the personal sacrifices as the professional talent of its young, classically trained, subjects. Autumn's Spring , in forcing us to question, among other things, what counts as dance and who counts as a dancer, shows us the joy that movement brings regardless of age--and ability. Wednesday, October 2, Men in Bathing Suits. Burns is one of four remaining suitors vying for the hand of the most famous abandoned wife in Ithaca.

Over the past 20 years he has witnessed more than of his kind die trying, either failing to outlast Penelope's exceedingly discriminating selection process or, as with his friend Murray, succumbing to the suggestive rhetoric of their rivals. Among those rivals still standing are Quinn Alex Lazaridis Ferguson , a vain alpha-male who treats Burns like his personal lap-dog; Dunne Sean Devine , theatrically Falstaffian in his outsized bodily appetites; and Fitz Patrick Keating , the older, drug-addled intellectual who, try though he might, cannot "forget the prize.

Did I mention that all of this takes place in a drained swimming pool the stunning set is designed by Drew Facey , with the suitors comically clad in speedos? The metaphor is an apt one: Walsh presents this rhetoric of masculinity as a continuum. On one end is the abject yet still idealistic Burns, who believes in the possibility of platonic love between two men, and that he shared just such a bond with the dead Murray. At the other end is Quinn, a combination of David Mamet's Ricky Roma and Oliver Stone's Gordon Gekko, who thinks that men are hardwired to be competitive, that hate and mistrust are what motivate them, and that the early bird always gets the worm--or, as is the case in the play's hilarious opening set-piece where Ferguson, especially, establishes his cartoonish he-man bona fides , the sausage.

Quinn is the embodiment of capitalist ideology. Having convinced Dunne and Fitz that if they work together to form a company whose sole goal is to ensure that one of them succeeds in winning Penelope's hand, he then purposefully scuttles Fitz's speech when it looks like that one will not be him. Interestingly, when it comes time for his own moment in the spotlight before Penelope, Quinn doesn't speak at all; instead he stages an elaborate pantomime where, conscripting Burns' help, he plays both the male and female leads in a succession of recycled romantic plots Napoleon and Josephine, Rhett Butler and Scarlet O'Hara, Romeo and Juliet, JFK and Jackie.

Perhaps because he only knows how to use words to wound he hasn't the facility for seduction of the others; or perhaps he, unlike them, realizes that he doesn't have to mean what he says. That is, he doesn't have to be sincere hence his burlesquing of the very ideal of love , he just has to win. I won't spoil things by revealing whether or not that's the case. What I will say is that all of the actors in this tightly helmed production are superb, forswearing all vanity to revel in the richness of Walsh's language. And I'll also plug my own post-show talk on October 10th , when I'll have more to say about the performances of masculinity on offer in the play.

Now the Egyptian government, despite repeated entreaties from Canadian consular officials, says they could be detained for 45 more days. The two men have been on a hunger strike for two weeks and the situation is getting perilous. It is time for Prime Minister Harper to intervene directly. The more pressure he receives to do so, the better. Please consider sending an email expressing your concern to stephen. Sunday, September 29, All Over Underland.

Deadlines everywhere, demanding my attention, so just a short note on the opening of DanceHouse 's new season at the Vancouver Playhouse this weekend. In his artist talk prior to last night's performance of Underland , Stephen Petronio talked about the formative influence of Trisha Brown, with whom he danced in the early eighties. Among other things, he said, Brown provided him with a model for successful artistic collaboration across disciplines.

And while, as Petronio went on to note, his "full table" approach to choreography and scenography is very different from Brown's minimalist aesthetic, seeking out talented musical and design collaborators has been a trademark of Petronio's work since he established his own company in Underland , as Petronio has conceived it, is a "place," materially submerged and mentally subconscious, signaled by the choreographer's own opening descent via a ladder into the stage space in the work's prologue, marking his progress with a pen or is it a knife? What then follows plays out like a scratching at the wound that may have festered as a result, each subsequent sequence adding a tear or rent to the thin membrane that separates one world from another--something echoed in the deconstructed costumes by Subkoff.

But it is Petronio's whirling, complexly off-kilter, and gravity-defying choreography that is the driving engine of this piece. However, the work is not without tenderness, as when the quartet of Davalois Fearon riveting throughout , Gino Grenek, Jaqlin Medlock, and Joshua Tuason enact a moving tableau vivant to "The Ship Song. The four dancers, even when momentarily separated, are in constant search of the hand, the limb, the lips, the bit of skin that marks not the boundary but the bridge between bodies. It's another way of looking at the ladder Petronio descends at the top of the show and, indeed, in Daly's video during this sequence we see the choreographer's on-screen avatar navigating a rope bridge.

And it's definitely what was created with the audience at the end, a collective exhale and explosion of applause greeting this brilliant reach across different realms of artistic and sensory experience. Sunday, September 22, Bewitched: As interpreted by Pauwels, the piece is divided into five parts, beginning with a fairly faithful recreation of the clip of Wigman posted to YouTube.

Masked and seated on the floor, Pauwels claws at the air with his arms and pushes his bent legs to the ground, just as Wigman does. But, not least because of the absence of the familiar percussive music, this opening feels less like an orienting homage than a decidedly disorienting ghosting, with Pauwels here and throughout the piece as a whole conjuring a version of the uncanny that is as much about emphasizing unlikeness as likeness.

In the third movement Pauwels is mostly vertical, darting diagonally across the stage with outstretched arms in a long grey wrap that he wears back to front, and reminding us why, at least in her first tour of America, Wigman was both hailed as the next and panned as a derivative Isadora Duncan. The fourth section of the work is the longest and, from my point of view, most interesting. However, he is also now in possession of an electric toothbrush, which he proceeds to use, and which we hear amplified via his mic. Soon he is brushing not just his teeth, but other parts of his body: Lithe and sexy, the feminine Pauwels is certainly bewitching.

And, so, because I have been doing some research of my own into this particular period of dance history, permit me to open a long contextual parenthesis:. What Wigman and Rudolf von Laban shared was an antipathy toward the traditional dance vocabulary inherited from ballet, folk dance, and pantomime, and that as an expressive form was always subservient to music. For Laban, movement was emotion, and in his theories of space harmony choreutics and effort eukinetics he would attach the names of different affects sadness, joy, anger to simple bodily movements and positionings.

This informed his idea of movement choirs, mass groupings of people, most without professional dance training, who could be taught basic combinations of everyday movement that they would then repeat in unison, transmitting rhythmically and kinesthetically the set of affects attached to that movement. This also explains why Wigman, unlike Laban, remained wary of conscripting movement to other interpretive ends, as in the theatre. Both accepted the patronage of the Nazi Party, and both bowed to pressure to dismiss Jewish company members or students, before separately running afoul of Josef Goebbels over their participation in the Olympic opening ceremonies, ironically a stage ideally suited as it continues to be to the transmission of affect through mass movement.

As for Wigman, she displeased party officials by demurring on a commission celebrating the leadership of Hitler, though she was allowed to contribute another group piece, Totenklage , instead, and she continued to teach, first at her school in Dresden, then in Leipzig, until the end of the war.

Feminism and Nationalism in the Dances of Mary Wigman , It begins with Pauwels, now once again fully clothed and entering upstage right with his back to us, magically unfurling a seemingly endless length of sheer plastic from what at first appears to be his mouth but was no doubt the top of his shirt. Lifting and twirling and running with and rising and falling underneath the sheet, Pauwels weaves a gorgeous final visual spell that is certainly vivid and memorable in its emotional expressivity.

Newer Posts Older Posts Home. My academic interests include theatre, dance and performance studies, film studies, and gender studies. I am actively interested in the relationship between art and politics, and especially what the performing arts can teach us about our relationships with the places we live, and with the world more generally. View my complete profile. Redux All Over Underland Bewitched: The Real Thing by Barbara Delinsky. Perfect Mix by Cara Mclean. For All Time by Anne Shorr. Christmas in April by Suzanne S Guntrum.

Awake unto Me by Jenna Lee Joyce. Spring Thaw by Gail Hamilton. Kindred Spirits by Cindy Victor. Almost Heaven by Elaine K. Love in Tandem by Lynda Ward. Bed and Breakfast by Kate Mckenzie. Twelve Across by Barbara Delinsky. Laughter in the Rain by Shirley Larson. Birds of a Feather by Leigh Roberts. A Winning Combination by Maris Soule. A Single Rose by Barbara Delinsky. Legal Tender by Alicia Fox. Wherever Love Leads by Regan Forest.

Tempting Fate by JoAnn Ross. The Road Home by Christine Rimmer. Cupid's Caper by Vicki Lewis Thompson. Marrying Kind by Rosalind Carson. Way of Destiny by Jackie Weger. No Reservations by Judith McWilliams. Tomorrow's Love Song by Georgia Bockoven. Trade Secrets by Carla Neggers. First Mates by Joanna Gilpin. Cardinal Rules by Barbara Delinsky. The Ultimate Seduction by Madeline Harper. Besieged by Faye Ashley. Chance of a Lifetime by Jayne Ann Krentz.

Hot on the Trail by JoAnn Ross. The Hitching Post by Margaret Hobbs. Heat Wave by Barbara Delinsky. Hero in Disguise by Gina Wilkins. Where Memories Begin by Elizabeth Glenn. A Wanted Man by Regan Forest. Test of Time by Jayne Ann Krentz. Wit and Wisdom by Shirley Larson. One of the Family by Kristine Rolofson. Before and After by Mary Jo Territo.

Eye of the Beholder by Jackie Weger. On the Wild Side by Kate Jenkins. Home Fires by Candace Schuler. Honorable Intentions by Judith McWilliams. Lady is a Champ by Frances Davies. Wishing Pool by Leigh Roberts. Perfect Woman by Libby Hall. Family Matters by Carla Neggers. Full Bloom by Jayne Ann Krentz. Spirit of Love by JoAnn Ross. The Nesting Instinct by Corey Keaton. More Than Words by Elizabeth Glenn. Over the Rainbow by Sandra Lee. Marry Me Not by Lass Small. Hero for the Asking by Gina Wilkins. Top Marks by Gayle Corey. Made in Heaven by Suzanne S Guntrum.

Love Letters by Elise Title. Hero by Nature by Gina Wilkins. Soul Mates by Candace Schuler. The Best of Everything by Maris Soule. On a Wing and a Prayer by Jackie Weger. All in a Name by Carla Neggers. Keepsakes by Madeline Harper. Foxy Lady by Marion Smith Collins. Building on Dreams by Shirley Larson. Speak to the Wind by Mary Tate Engels. When Tomorrow Comes by Regan Forest. Impulse by Vicki Lewis Thompson.

Fulfillment by Barbara Delinsky. Joy by Jayne Ann Krentz. Trust by Rita Clay Estrada. Eve's Choice by JoAnn Ross. Twice A Miracle by Dallas Schulze. First a Friend by Elizabeth Glenn. Law of Nature by Maris Soule. Heaven Sent by Regan Forest. Suddenly Sunshine by Kate Jenkins. I Love You by Huw Davies. Dreams, Part 1 by Jayne Ann Krentz. Dreams, Part 2 by Jayne Ann Krentz. Midas Touch by Katherine Kendall. Murphy's Law by JoAnn Ross. Gypsy by Glenda Sanders. Monkey Business by Cassie Miles. Winning Battle by Carla Neggers.

How Sweet It Is! Gone Fishin' by Elizabeth Glenn. Storybook Hero by Maris Soule. A Bright Idea by Gina Wilkins. Another Heaven by Renee Roszel. Color of Love by Binnie Syril. Novel Approach by Emma Jane Spenser. Through My Eyes by Barbara Delinsky. Almost Paradise by Candace Schuler. Free Fall by Lorena McCourtney.

Hard-Headed Woman by Carrie Hart. Royal Treatment by Judith McWilliams. Too Many Weddings by Pamela Roth. Lucky in Love by Laurien Berenson. Full Coverage by Vicki Lewis Thompson. Daddy, Darling by Glenda Sanders. Face to Face by Julie Meyers. Stuck on You by Kristine Rolofson. The Home Stretch by Karen Percy. Sophisticated Lady by Candace Schuler. When Fortune Smiles by Sally Bradford. An Unmarried Man by Sarah Hawkes.

Second to None by Rita Clay Estrada. MacNamara and Hall by Elise Title. Code Name Casanova by Dawn Carroll. Lady's Choice by Jayne Ann Krentz. This Time Forever by Madeline Harper. Dreamboat by Maggie Davis. Open Invitation by Tiffany White. Finders Keepers by Carla Neggers. Out of the Darkness by Binnie Syril. All-American Male by Glenda Sanders. Legendary Lover by Renee Roszel.

Montana Man by Barbara Delinsky. I Do, Again by Carin Rafferty. Too Many Husbands by Elise Title. Wildcat by Candace Schuler. Strictly Business by Bobby Hutchinson. Together Again by Ruth Jean Dale. The Pirate by Jayne Ann Krentz. Newsworthy Affair by Delayne Camp. Bound for Bliss by Kristine Rolofson. Another Rainbow by Lynda Trent. Love Nest by Eugenia Riley. The Adventurer by Jayne Ann Krentz.

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Only Human by Kelly Street. Ripe for the Picking by Mary Tate Engels. Guarded Moments by JoAnn Ross. Having Faith by Barbara Delinsky. Changing the Rules by Gina Wilkins. Island Nights by Glenda Sanders. Satisfaction Guaranteed by Judith McWilliams. The Cowboy by Jayne Ann Krentz. Only Yesterday by Karen Toller Whittenburg. Rememberance by Lynn Michaels. Under Lock and Key by Cassie Miles. Magic Touch by Roseanne Williams. Temperature's Rising by Susan Gayle.

Glory Days by Marilynne Rudick. After Hours by Gina Wilkins. Talisman by Laurien Berenson. Hidden Messages by Regan Forest. Always by Jo Morrison. Just Jake by Shirley Larson. Dark Secrets by Glenda Sanders. The Dream by Barbara Delinsky. Cheap Thrills by Tiffany White. My Fair Baby by Carin Rafferty. Cupid Connection by Leandra Logan. The Dream Unfolds by Barbara Delinsky.

Sleight of Heart by Kara Galloway. Somebody's Hero by Kristine Rolofson. The Perfect Mate by Eugenia Riley. The Jade Affair by Madeline Harper. Within Reason by Carla Neggers.

Doctor, Darling by Glenda Sanders. Easy Lovin' by Candace Schuler. Different Worlds by Elaine K. Tangled Hearts by JoAnn Ross. Valentine's Knight by Renee Roszel. Oklahoma Man by Delayne Camp. Detente by Emma Jane Spenser. Man for the Night by Maggie Baker. Making It by Elise Title. Too Wild to Wed? That Stubborn Yankee by Carla Neggers. Terminally Single by Kate Jenkins.

Tangled Lives by JoAnn Ross. Love Counts by Karen Percy. Love at Second Sight by Kara Galloway. Love Conquers All by Roseanne Williams. Hard to Resist by Mary Tate Engels. Perfect Stranger by Gina Wilkins. Naughty Thoughts by Dawn Carroll. The Lady and the Dragon by Regan Forest. Human Touch by Glenda Sanders. The Stud by Barbara Delinsky. Jack and Jill by Elise Title. Easy Does It by Pamela Toth. First and Forever by Katherine Kendall. Twice Loved by Rita Clay Estrada. Dillon After Dark by Leandra Logan. Sherlock and Watson by Carin Rafferty.

In Too Deep by Karen Percy.

Loved by the Best by Mary Tate Engels. Forbidden Fantasy by Tiffany White. Sweetheart Deal by Laurien Berenson. Hotline by Gina Wilkins. Imperfect Hero by Jo Morrison. A Legal Affair by Bobby Hutchinson. Looking Good by Judith McWilliams. Christmas Knight by Carin Rafferty. A Dangerous Game by Candace Schuler. Unwilling Wife by Renee Roszel. Like a Lover by Sandra James. The Hood by Carin Rafferty. Dark Desires by JoAnn Ross. Babycakes by Glenda Sanders. Under the Covers by Roseanne Williams. The Outsider by Barbara Delinsky. Dark and Dangerous by Marsha M. Love Lessons by Sandra Lee.

Under Her Influence by Kelly Street. The Wolf by Madeline Harper. Heart Trouble by Sharon Mayne. Stellar Attraction by Eugenia Riley. Taking a Chance on Love by Gina Wilkins. A Risky Proposition by Cassie Miles. Wild Thing by Natalie Patrick. Anything Goes by Vicki Lewis Thompson. The Mighty Quinn by Candace Schuler. Second Thoughts by Dana Lindsey.

Secret Lives by Regan Forest. Designs on Love by Gina Wilkins. The Bad Boy by Roseanne Williams. Haunting Secrets by Glenda Sanders. Sweet Stuff by Judith McWilliams. The Patriot by Lynn Michaels. Heartthrob by Janice Kaiser. Kate by Vicki Lewis Thompson. Hot Arctic Nights by Bradly. Tallahassee Lassie by Peg Sutherland.

All That Glitters by Kristine Rolofson. For the Love of Pete by Elise Title. The Maverick by Janice Kaiser. Borrowed Time by Regan Forest. Right Moves by Sharon Mayne. True Love by Elise Title. The Soldier of Fortune by Kelly Street. Devil to Pay by Renee Roszel. Beguiled by Dawn Carroll. Taylor Made by Elise Title. The Perfect Husband by Kristine Rolofson. Hot Developments by Bobby Hutchinson. Trying Patience by Carla Neggers. The Sundowner by Madeline Harper. Wilde at Heart by Janice Kaiser. Michael's Wife by Tracy Morgan. Seeing Red by Roseanne Williams.

The Missing Heir by Leandra Logan. Winner Takes All by Sharon Mayne. Moonstruck Lovers by JoAnn Ross. Hunk by Glenda Sanders. The Virgin and the Unicorn by Kelly Street. Bad Attitude by Tiffany White. Mail Order Man by Roseanne Williams. When It's Right by Gina Wilkins.

Wedding Bell Blues by Madeline Harper. Love Slave by Mallory Rush. Second Sight by Lynn Michaels. The Other Woman by Candace Schuler. Lovers' Secrets by Glenda Sanders.

Publisher Series: Harlequin Temptation

Indecent Exposure by Kate Hoffmann. Rafe's Island by Gina Wilkins. Hot Date by Roseanne Williams. Night Watch by Carla Neggers. Betrayal by Janice Kaiser. Manhunting by Jennifer Crusie. Naughty Talk by Tiffany White. Deceptions by Janice Kaiser. The Right Direction by Candace Schuler. Nice by Renee Roszel. Lovestorm by JoAnn Ross. Joyride by Leandra Logan.

Body Heat by Elise Title. Wife by Kate Hoffmann. The Pirate's Woman by Madeline Harper. Wild Like the Wind by Janice Kaiser. Madeleine's Cowboy by Kristine Rolofson. Getting Rid of Bradley by Jennifer Crusie. Aftershock by Lynn Michaels. Angel of Desire by JoAnn Ross. Sex, Lies, and Leprechauns by Renee Roszel. Loverboy by Vicki Lewis Thompson. Undercurrent by Lisa Harris. Just Her Luck by Gina Wilkins.

Love Potion 9 by Kate Hoffmann. Love, Me by Tiffany White. Her Favorite Husband by Leandra Logan. The Mercenary by Cherry Adair. Baby Blues by Kristine Rolofson. Trouble in Paradise by Lisa Harris. The Personal Touch by Candace Schuler. Christmas in July by Madeline Harper. Forms of Love by Rita Clay Estrada. Gold and Glitter by Gina Wilkins. Wedding Song by Vicki Lewis Thompson. Ranger Man by Sheryl Danson. Plain Jane's Man by Kristine Rolofson. Star by Janice Kaiser. Dangerous at Heart by Elise Title. Playboy McCoy by Glenda Sanders.

Molly and the Phantom by Lynn Michaels. Ghost Whispers by Renee Roszel. Heartstruck by Elise Title. Kiss in the Dark by Tiffany White. Lady of the Night by Kate Hoffmann. Happy Birthday, Baby by Leandra Logan.

Subscribe To Performance, Place, and Politics

Strange Bedpersons by Jennifer Crusie. Undercover Baby by Gina Wilkins. Memory Lapse by Kathleen O'Brien. The Reluctant Hunk by Lorna Michaels. Mad About You by Alyssa Dean. Bachelor Husband by Kate Hoffmann. Obsession by Debra Carroll. The Trouble with Babies by Madeline Harper. Service with a Smile by Carolyn Andrews. Night Games by Janice Kaiser. Secondhand Bride by Roseanne Williams. The Tempting by Lisa Harris. Bargain Basement Baby by Leandra Logan. Fancy Free by Carrie Alexander.

Never a Bride by JoAnn Ross. Nightwing by Lynn Michaels. Jilt Trip by Heather MacAllister. What the Lady Wants by Jennifer Crusie. Never Love a Cowboy by Kate Hoffmann. Jessie's Lawman by Kristine Rolofson. Lovers and Strangers by Candace Schuler. Naughty by Night by Tiffany White. The Last Hero by Alyssa Dean. Tempting Jake by Molly Liholm. Seduced and Betrayed by Candace Schuler. Stranger in My Arms by Madeline Harper. The Trailblazer by Vicki Lewis Thompson. The Texan by Janice Kaiser.

Passion and Scandal by Candace Schuler. Kiss of the Beast by Mallory Rush. The Drifter by Vicki Lewis Thompson. Make-Believe Honeymoon by Kristine Rolofson. The Lady in the Mirror by Judith Arnold. Private Passions by JoAnn Ross. The Lawman by Vicki Lewis Thompson. Angel Baby by Leandra Logan. Timeless Love by Judith Arnold. Man Under the Mistletoe by Debra Carroll. The Cowboy by Kristine Rolofson. Charlie All Night by Jennifer Crusie. A Burning Touch by Patricia Ryan. Impetuous by Lori Foster.

The Stormchaser by Rita Clay Estrada. Midnight Fantasy by Cresswell. Michael's Angel by Lyn Ellis. Valentine Wish by Gina Wilkins. The Pirate by Kate Hoffmann. Commitments by Susan Worth. Marriage Curse by Carolyn Andrews. Nobody's Hero by Patricia Keelyn. Bedded Bliss by Heather MacAllister. The Outlaw by JoAnn Ross. Honeymoon With a Stranger by Janice Kaiser. Stranger in the Night by Roseanne Williams. The Marriage Test by Madeline Harper. The Last Seduction by Minger. Twin Beds by Regan Forest. Wish for Love by Gina Wilkins. The Knight by Sandy Steen. Littlest Detective by Kathy Marks.

Inconvenient Passion by Debra Carroll. All Shook Up by Carrie Alexander. Wicked Ways by Kate Hoffmann. The Highwayman by Madeline Harper. For the Thrill of It by Patricia Ryan. Just Desserts by Janice Kaiser. Between the Sheets by Mallory Rush. Luck of the Draw by Candace Schuler. Heaven Sent Husband by Leandra Logan. Some Kind of Hero by Sandy Steen. Ambushed by JoAnn Ross. Christmas with Eve by Elda Minger.

Christmas Knight by Lyn Ellis. Christmas Male by Heather MacAllister. New Year's Knight by Lyn Ellis. The Better Man by Sabrina Johnson. A Night to Remember by Gina Wilkins. Harlequin Temptation by Janice Kaiser. Valentine by Vicki Lewis Thompson. After the Loving by Sandy Steen. The Honeymoon Deal by Kate Hoffmann. Possessing Elissa by Donna Sterling. Outrageous by Lori Foster. One Enchanted Night by Debra Carroll. Twice the Spice by Patricia Ryan. The Getaway Bride by Gina Wilkins. Wishes by Rita Clay Estrada. The Black Sheep by Carolyn Andrews.

Rescuing Christine by Alyssa Dean. Bride Overboard by Heather MacAllister. The Adventurer by JoAnn Ross. Restless Nights by Tiffany White. The Heartbreaker by Vicki Lewis Thompson. Seduced by a Stranger by Cyndi Hayes. The Pretender by JoAnn Ross.

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