Info Sheet

Like a play by Shakespeare seenthrough a fun-house mirror, All

Shook Up tips its hat to the Bard,especially his magical comediessuch as Twelfth Night and AMidsummer Night’s Dream. Againand again, All Shook Up’s dialoguerefers to Shakespeare, whether it's Lorraine's longing for the forbiddenlove of Romeo and Juliet, MissSandra quoting Romeo’s, "O! I am fortune’s fool!" or Dennis winning Sandra’s heart with aShakespearean sonnet. But beyond simple referencesor quotations, All Shook Up is inspired by the magicalatmosphere of Shakespeare’s romantic comedies, theidea of getting "letting yourself go" as Chad says, orlosing control in the midst of love. Even the statuescome to life in All Shook Up, infected by this romanticmagic, what Shakespeare calls "night rule."

Shakespeare used love and romance to "shake up" theestablished order. During England’s Elizabethan Age[1558-1603], love and marriage were aspects of order.Like life in America during the 1950s, life in

Shakespeare’s day was goingthrough extreme changes. InShakespeare Alive!, his book onthe Elizabethan era, Joseph Pappwrote, "Anxiety gripped individu-als, families and the entire socie-ty…The more things seemed to beteetering on the brink of chaos, themore Elizabethan society empha-sized old concepts of order." Interms of marriage, that meantestablishing a hierarchy thatlooked a lot like the English

monarchy: one ruler (the man) and his "subjects" (thewoman and children). But in plays such as AMidsummer Night’s Dream, As You Like It, and TwelfthNight, Shakespeare tests the idea of order by removinghis characters from civilization and placing them inwild and natural settings. In Shakespeare, it’s typicallya forest; in All Shook Up, it’s an abandoned fairground.Unhindered by the laws of civilization, men and womenbecome infected with "night-rule": Love turns to hate,passion to anger, and women masquerade as men. AsMatilda sings, "First they lose their common sense, andthen they lose control."

English/Language Arts

All Shook Up: The Shakespeare Connection

6

"Gosh, running away is so romantic, we’re just like Romeo and Juliet except we’re not dead."

—Lorraine, from All Shook Up

"The course of true love never did run smooth…" —- from A Midsummer Night’s Dream, by William Shakespeare

Let yourself go!

Info Sheet

All Shook Up shows us asquare little town getting

"shaken up": in one magicalday, all its expectations andpoints of view are turned upsidedown! 1950s America, likeShakespeare’s ElizabethanEngland, teetered on the brinkof great change. After the hor-rors of two World Wars, olderAmericans longed for peace andquiet. But their children hadlearned the dark lessons ofthose wars and could not goback to the way things hadbeen. They dreamed of some-thing different, a better life. Ifthose wars had been fought forfreedom, they wanted that samefreedom here in America. The1950s was the launching pointfor a Civil Rights movement thatsought to change hundreds of years of hatred, preju-dice, and segregation.

Perhaps the most defining moment of the decade cameon May 17, 1954, when the Supreme Court ruled onsegregated schools in Brown v. Board of Education:"We conclude that in the field of public opinion the doc-trine of ‘separate but equal’ has no place. Separate

educational facilities are inherently unequal." DavidHalberstam calls this decision "the moment that sepa-rated the old order from the new…It instantaneouslybroadened the concept of freedom…Brown v. Board ofEducation was just the beginning of a startling newperiod of change, not just in the area of civil rights, butin all aspects of social behavior. One era was endingand another beginning."

Social Studies/History

America, 1955

11

"If I can dream of a better land where all my brotherswalk hand-in-hand tell me why, oh why, oh whycan’t my dream come true – "

—from All Shook Up

Info Sheet

Art threatens Authority. Just as Plato’s ideal republicwas threatened by new types of music thousands

of years ago, Mayor Matilda Hyde sees Chad’s music asa menace to her control in All Shook Up. Matilda’s feel-ings against Chad may seem amusing to us today, butduring the 1950’s government pressure against art andartists was often deadly serious.

The end of World War II had left the world in a tensestand-off which would last for decades. The SovietUnion, an ally in World War II, was now seen as a direthreat, as the Soviets took over more and more territo-ry in Eastern Europe. The Soviet system of government,

known as Communism, was seen asa danger to democracy. Both sidesbuilt up weapons and secrets. It wascalled The Cold War.

Into this tense time came JosephMcCarthy. On February 9, 1950, hestated in a speech that theDepartment of State was riddled withCommunists. The speech electrifiedthe nation and brought this Senatorfrom Wisconsin to the national spot-light. Between 1950 and 1954,McCarthy dominated American poli-tics with his well-orchestrated huntfor Communists in government. No

one dared to criticize him for fear of being denouncedby him. The cartoonist Herbert Block coined the termfor this paranoia: McCarthyism.

In 1953, McCarthy began televised hearings, investi-gating Communist plots within the military. For the firsttime, the American public saw his methods. TheLouisville Courier-Journal wrote, "McCarthy has shownhimself to be evil and unmatched in malice." In 1954,he was officially condemned by the Senate. Stripped ofhis power, McCarthy died only three years later.McCarthy was gone, but many believe his legacy con-tinues to this day.

Social Studies/History

McCarthyism in the 1950s

12

For any musical innovation is full of danger to the whole State,and ought to be prohibited…when modes of music change, thefundamental laws of the State always change with them.

—Plato, The Republic

"Lady, I been to plenty of towns, and there’salways someone like you, bullyin’ people intobuyin’ your version of what life should be!

—Chad from All Shook Up

Authority figures

Authority vs. rebellion

14

JOSEPH R. MCCARTHYSee page xx for more information. David

Halberstam wrote, "McCarthyism crystal-lized and politicized the anxieties of a

nation living in a dangerous new era."

RICHARD NIXONAfter World War II, Richard Nixon became a Congressmanfrom California, then went on to become a Senator in1950. In 1952, he was selected, at age 39, to becomeVice President under Dwight D. Eisenhower. He eventuallybecame President himself in 1968, and later had to resignover the Watergate scandal.

J. EDGAR HOOVERThe leader of the Federal Bureau ofInvestigation for an unprecedented48 years, Hoover garnered headlinesduring the 1940s and 50 for itsharsh actions against Communistintelligence. Hated by many for hisnarrow world-view, he was fearedby more for his secrets.

DWIGHT D. EISENHOWER"Anybody is a damn fool who wants to be President," said Dwight

D. Eisenhower. For most of his life, Eisenhower was a soldier. Hegained global renown during World War II as the leader of the Allied

Forces landing in North Africa in November 1942, and the he wasSupreme Commander of the troops invading France on D-Day in

1944. He became President in 1952, the last President born in thenineteenth century. His wife was Mamie.

In All Shook Up, the town citizens rebel against the rules, against what authority tells them is right. They needto follow their own dreams, to break the chains of unfair authority. This was what was happening in America in

the 1950s. On the screen, on the stage, on the page and on the street, artists and activists were rebellingagainst the status quo. The lines were drawn. Who would you have followed?

Rebels

15

MARTIN LUTHER KINGOne of the most beloved and influ-ential figures in American history,King gained prestige as a civilrights organizer when he led thesuccessful Montgomery bus boy-cott in 1955–56.

ROSA PARKSA retired seamstress, her refusal to give up her seat for a whiteman sparked the Montgomery, Alabama bus boycott, a pivotalflashpoint in the Civil Rights movement.

ALAN FREEDDuring the summer of 1951, Alan Freed began TheMoondog Show on a radio station in Cleveland, callinghimself the Moondog. With this powerful microphone,Freed promoted rock music during a time when manystill believed it was evil. He is credited by many withbringing together white and black teenagers with thepower of music.

MARLON BRANDOHe represented the wild, the

untamed, the confused teenag-er entering the second half of

the 20th century. He led thebattle against conformity,

against the norm. He was theultimate rebel. In his film TheWild One, he’s a member of a

motorcycle club. "What are yourebelling against?" he’s asked."Waddya got?" he replies. The

entertainer Jackie Gleason saidthat Elvis Presley was a "guitar-

playing Marlon Brando."

Info Sheet

The fictional events of All Shook Up take place in the year 1955. Here are some REAL events thatoccurred during that important year:• On January 14, in New York City, DJ Alan Freed (see page xx) produces the first rock and roll concert.

• The film Rebel Without a Cause, starring James Dean is released. Dean is killed in a car crash onSeptember 30th.

• On March 16th, President Eisenhower causes an international uproar when he says, "A-bombs can beused... as you would use a bullet."

• On May 14, Eastern European nations under the control of the Soviet Union establish the Warsaw Pact,the East’s answer to the West’s North American Treaty Organization, or NATO. The Cold War intensifies.

• On November 22, the first Soviet thermonuclear bomb is tested.

• It is estimated that the United States has 4,000 atomic bombs and the Soviet Union has 1,000.

• General Motors becomes the first American corporation to make over a billion dollars a year.

• The first issue of the Guiness Book of World Records is published.

• Marian Anderson becomes the first black person to sing at the Metropolitan Opera in New York City.

• Arthur Mitchell joins the New York City Ballet, becoming the first black person to dance with a majorcompany in the United States.

• On December 1, seamstress Rosa Parks refuses to take a back seat on a Montgomery, Alabama bus,sparking citywide boycott.

• Disneyland opens in Anaheim, California.

• Rock and Roll highlights: "Ain't That a Shame" (Fats Domino), Earth Angel (The Penguins),"Maybellene" (Chuck Berry), and "Rock Around the Clock" (Bill Haley and the Comets)

IDEAS FOR DISCUSSION

• When Elvis Presley died, President Jimmy Carter praised his music, "fusing the styles of white countryand black rhythm and blues." Why were the mid-1950s the perfect time for such a fusion to emerge?

• Would Elvis have been so popular if he had emerged five years earlier? Why or why not?

• Why do you think the creators of All Shook Up set their story in 1955?

Social Studies/History

1955 in a nutshell

17

Music

20

On an historical marker outside the house where ElvisPresley was born are written words that reflect his

legacy: "Presley's career as a singer and entertainerredefined popular music." That redefinition came in theform of a unique merging of black and white musicalstyles.As President Jimmy Carther said after the singer’sdeath: "Elvis Presley's death deprives our country of apart of itself. His music... fusing the styles of white coun-try and black rhythm and blues, permanently changedthe face of American popular culture."

Elvis Aaron Presley was born in Tupelo, Mississippi onJanuary 8, 1935. Although his family was very poor, hegrew up surrounded by different styles of music. As

members of the Pentacostal Church, he and his familyregularly listened to Gospel music, and when the fam-ily moved to Memphis, Tennessee, he was exposed torhythm and blues.

Presley loved to hang out at all-night gospel shows, lis-tening to the music and admiring the singers. Althoughstrictly segregated during those times, these gospelshows incorporated music that had originated in blackreligious communities. Elvis even went so far as tosneak into black churches to hear the music, whichwas quite daring for that time. Presley was absorbingthe mixture of black and white musical traditions thatwould later become his trademark.

Scholars argue that gospel music was the first exam-ple in the United States of the integration betweenAfrican and European music styles, stressing thatgospel blurred the lines between the sacred and thesecular. As rock and roll developed, it borrowed thisidea, so that its best songs – and we certainly see thisin All Shook Up – deal with primal emotions like joy,love and desire in an almost spiritual way.

Record producer and music lover Sam Phillips waslooking for a way to bridge the gap between white andblack music, between white and black audiences. Hesaid, "I know that for black music to come to its right-

Elvis Presley - Breaking the Barriers/Breaking the Mold

"Ain’t nothing wrong with long-hairedmusiclike Brahms, Beethoven andBach! But I was raised with a guitarin my hands and I was born to rock!"

—from all shook up

Info Sheet

ful place in this country we had to have some whitesingers come over and do black music – not copy it,not change it, not sweeten it. Just do it."

That opportunity came during the summer of 1953,when the teenage Elvis Presley walked into Philips'Memphis Sun Records recording studio.

Philips teamed Elvis with guitarist Scotty Moore andbassist Bill Black. During a break, Elvis began to takeoff on a song by black blues singer Arthur Crudupcalled "That's All Right, Mama," and Moore and Blackjoined in, just goofing around. Philips liked what heheard and asked them to put it on tape, along withasong by bluegrass singer Bill Monroe called "BlueMoon of Kentucky. These intense and exciting record-ings defined rockabilly music and became a model forrock musicians in the coming decades. As RichieUnterberger writes in the All Music Guide, these record-ings "established the basic language of rock & roll."

Later that summer, Presley made his first publicappearance, where he began to show off his raucousand provocative style, wildly swiveling his hips to themusic. Many music experts believe that Presley’strademark hip-swaying was borrowed from the danceshe saw in gospel churches.

Elvis Presley’s fame was astounding. Over his career,he created 107 Top 40 singles and 18 No. 1 records. In1986 he was among the first inductees into the Rock`n' Roll Hall of Fame. He had had sold more than onebillion records worldwide, or one record for every fivepeople in the world! But beyond his music, Elvis pro-moted a style, an outlook, an optimistic way of lookingat the world that became the standard for cool duringhis lifetime and beyond. No wonder composer and con-ductor Leonard Bernstein called Presley "the greatestcultural force in the twentieth century…he changedeverything – music, language, clothes, it’s a whole newsocial revolution."

21

What does THAT mean?

Bluegrass: Developed in the 1930s, this musical style relies heavily on string instruments like the fiddle, gui-tar, banjo or mandolin. This form of American roots music uses tight vocal harmony, sometimes up to four parts,often with spiritual or over-romantic themes.

The Blues: This early form of American music had its origins in African American spirituals, chants and worksongs. A great influence on jazz, rock and country music, the blues is characterized with a singer telling anaudience of her or her troubles through music in a minor chord.

Rockabilly: A combination of the blues, country music and bluegrass. Elvis Presley’s Sun sessions are consid-ered the first rockabilly recordings. Writer Peter Guralnick calls rockabilly, "the purest of all rock 'n' roll genres."

Record Album: Yes, it’s true! Before CDs and MP3s, musicians sold their music on what were called recordalbums: black discs made of vinyl (a hard type of plastic), cut with very tiny concentric circular grooves.A record player’s needle would move along these grooves and produce the music.

It’s all about being in the right place at the right time.It’s no coincidence that Elvis Presley hit it big at near-

ly the same time the country was being rocked by theSupreme Court decision of Brown v. Board ofEducation. The country had been waiting for an artistwho defied strict labeling, who would appeal, not to anarrow audience, but across a wide spectrum of audi-ence groups.

WHAT DOES THAT MEAN? COVER: When original recording was expected (target-ed) to appeal to a certain audience, another artistwould make a recording to appeal to a different audi-ence.

Today, those special audience groups are identified as demographics (for example, the "18-49" age spe-cific audience). During the 40s and 50s, the demo-graphic/target audience would be based on race. Thisis the logical extension of the attitudes and segregationpolicies of the 40s and early 50s.

Popular (read: white) radio stations and DJs (disc jock-eys) were not allowed to play music of the artists (usu-ally Black/African-American) identified with the "otherside." This practice was so common that for a short

time there was a category in record stores called"race," the code term for African-American artists’recordings.

This situation was based on the policies of recordingcompanies, which dramatically affected the musicheard on radio stations. Early on, the practices were sostrictly observed that radio stations risked being shutdown if they countered these practices; DJs riskedbeing fired.

Remember, segregation was legal during this time.There were laws requiring the separation of races.Culture, in this case music, followed the law of the land:music, just like people, was segregated. It took an artistlike Elvis Presley to begin to break down those walls.

Music

Covers & Crossovers

22

WHAT DOES THAT MEAN? COVER: When original recording was expected(targeted) to appeal to a certain audience, anotherartist would make a recording to appeal to a different audience.

WHAT DOES THAT MEAN? CROSS-OVER: Artists whose previous recordingswould be "targeted" to one demographic choosing to record music associated with another target group.

Music

Where can you find original versions ofthe songs from all shook up?

24

The songs in All Shook Up were originally performed by Elvis Presley on a variety of recordings.Below find the list of songs featured in All Shook Up, with information on where you can find the original recordings by Elvis Presley.

Love Me Tender . . . . . . . . . . . . . . . . . . . . . . . . . . . .By Elvis Presley & Vera MatsonPublished by Elvis Presley Music [administered by Cherry River Music Co. and by Chrysalis Songs] (BMI)

Roustabout . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ..By Bill Giant, Bernie Baum & Florence KayePublished by Elvis Presley Music [administered by Cherry River Music Co. and by Chrysalis Songs] (BMI)

Heartbreak Hotel . . . . . . . . . . . . . . . . . . . . . . . . . . .Written by Elvis Presley, Mae BorenAxton and Tommy Durden Published by Sony/ATV Songs LLC dba Tree Publishing Co. (BMI)

One Night . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Written by Dave Bartholomew and Pearl KingPublished by Elvis Presley Music [administered by Cherry River Music Co. and by Chrysalis Songs] and bySony/ATV Songs LLC (BMI)

C’mon Everybody . . . . . . . . . . . . . . . . . . . . . . . . . . .Written by Joy ByersPublished by Gladys Music [administered by Cherry Lane Music Publishing Company, Inc. and byChrysalis Music] (ASCAP)

Follow That Dream . . . . . . . . . . . . . . . . . . . . . . . . . .Words by Fred WiseMusic by Ben Weisman Published by Warner Chappell Music Inc. on behalf of Chappell & Co. Inc.(ASCAP)/ and by Spirit Two Music Inc. on behalf of Erika Publishing (ASCAP)

Hound Dog . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Written by Jerry Lieber and Mike StollerPublished by Gladys Music [administered by Cherry Lane Music Publishing Company, Inc. and byChrysalis Music] and by Universal-MCA Music Publishing (ASCAP)

Teddy Bear . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Written by Kal Mann and Bernie LowePublished by Gladys Music [administered by Cherry Lane Music Publishing Company, Inc. and ChrysalisMusic] (ASCAP)

That’s Alright . . . . . . . . . . . . . . . . . . . . . . . . . . . .Written by Arthur CrudupPublished by Crudup Music and Unichapel Music, Inc. (BMI)

Return to Sender . . . . . . . . . . . . . . . . . . . . . . . . . . .Written by Otis Blackwell and Winfield Scott.Published by Elvis Presley Music [administered by Cherry River Music Co. and by Chrysalis Songs] (BMI)

Devil In Disguise . . . . . . . . . . . . . . . . . . . . . . . . . . .Written by Bill GiantBernie Baum and Florence Kaye Published by Elvis Presley Music [administered by Cherry River MusicCo. and by Chrysalis Songs] (BMI)

It’s Now or Never . . . . . . . . . . . . . . . . . . . . . . . . . . .Written by Aaron Schroederand Wally Gold Published by Rachel’s Own Music [administered by A. SchroederInternational Ltd,] and by Gladys Music [administered by Cherry Lane Music Publishing Company, Inc.and by Chrysalis Music] (ASCAP)

Info Sheet

26

Blue Suede Shoes . . . . . . . . . . . . . . . . . . . . . . . . . .Written by Carl PerkinsPublished by Wren Music Co. Inc, on behalf of Carl Perkins Music, c/o MPL Communications, Inc. (BMI)

Don’t Be Cruel . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Written by Otis Blackwelland Elvis Presley Published by Elvis Presley Music [administered by Cherry RiverMusic Co. and by Chrysalis Songs] and by EMI Music Publishing (BMI)

Let Yourself Go . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Written by Joy ByersPublished by Gladys Music [administered by Cherry Lane Music Publishing Company, Inc. and byChrysalis Music] (ASCAP)

Can’t Help Falling In Love . . . . . . . . . . . . . . . . . . . .Written by George David Weiss, Hugo Peretti andLuigi Creatore. Published by Gladys Music [administered by Cherry Lane Music Publishing Company, Inc.and by Chrysalis Music] (ASCAP)

All Shook Up . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Written by Otis Blackwell and Elvis PresleyPublished by Elvis Presley Music [administered by Cherry River Music Co. and by Chrysalis Songs] and byEMI Music Publishing (BMI)

It Hurts Me . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Written by Joy Byers and Charles E. DanielsPublished by Gladys Music [administered by Cherry Lane Music Publishing Company, Inc. and byChrysalis Music] and by Warner/Chappell Music Inc. (ASCAP)

A Little Less Conversation . . . . . . . . . . . . . . . . . . . .Written by Mac Davis and Billy StrangePublished by Elvis Presley Music [administered by Cherry River Music Co. and by Chrysalis Songs] (BMI)

Power of My Love . . . . . . . . . . . . . . . . . . . . . . . . . .Written by Bill GiantBernie Baum and Florence Kaye Published by Elvis Presley Music [administered by Cherry River MusicCo. and by Chrysalis Songs] (BMI)

I Don’t Want To . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Words by Janice Torre, Music by Fred SpielmanPublished by Gladys Music [administered by Cherry Lane Music Publishing Company, Inc. and byChrysalis Music] (ASCAP)

Jailhouse Rock . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Written by Jerry Leiber and Mike StollerPublished by Jerry Leiber Music and Mike Stoller Music (ASCAP)

There’s Always Me . . . . . . . . . . . . . . . . . . . . . . . . . .Written by Don RobertsonPublished by Don Robertson Music Corp. (ASCAP)

If I Can Dream . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Written by W. Earl BrownPublished by Gladys Music [administered by Cherry Lane Music Publishing Company, Inc. and byChrysalis Music] (ASCAP)

Fools Fall In Love . . . . . . . . . . . . . . . . . . . . . . . . . . .Written by Jerry Leiber and Mike StollerPublished by Jerry Leiber Music and Mike Stoller Music (ASCAP)

Burning Love . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Written by Dennis LindePublished by Sony/ATV Songs LLC (BMI)

Info sheet

Describe that process of writing All Shook UpThe process involved hearing these songs in a differentway. Elvis sang them so distinctly and so brilliantly thatwe didn’t want an Elvis imitator up there. We wanted toput the songs in a new story and have them heard in adifferent way. When you have all these disparate songs,you need a concept to hang your hat on; when I cameup with the idea of the Shakespeare comedies, that’swhen I was really able to write the show.

Talk about the Shakespeare ConnectionThe bottom line with Elvis’ music is that it makes a lotof people very happy, even 50 years after it wasrecorded. And I thought, what other type of entertain-ment form does that? And that’s when I came up withthe Shakespeare comedies, which are very much aboutlove and finding your joy, marriage, passion and all thegood stuff of life. That combination was, I thought,potent and a lot of fun.

Like Shakespeare’s characters, it seems that thecharacters in All Shook Up don’t – or can’t - hidetheir emotionsOne reason I think Elvis’ work has endured and stilltouches people so strongly is that he sang with suchpassion. You really felt all of the joy and all of theheartache in these songs. Listen to the lyrics of "AllShook Up." It’s really about needing someone so muchthey rock you to your soul

Why did you choose 1955 as the time for AllShook Up? Was it just because Elvis was startingto hit it big, or was it because of the socialchanges were occurring in the United States,including the beginning of the end of segregationwith Brown vs. Board of Education in 1954?Elvis was a white guy singing rhythm and blues musicfor the first time, which really helped R & B cross overto the mainstream, or to white America, I should say.Elvis took rhythm and blues music and really helped topopularize it, and I thought we really needed to staytrue to where that music came from, which is obvious-ly the African American community, especially in theSouth. So that’s very much why it takes place then. InAll Shook Up, this music unleashes the uptightness ofthese people in small town America and certainlyapplies to inter-racial dating and same-sex dating. It’sall about loving someone no matter who they are.That’s what the show’s about.

What advice would you give to young peopleinterested in becoming a writer for the theatre?See as many shows as they can, and read as manyplays as they can. When you’re young you really havethe time to read and see things, and form your ownopinions about what you enjoy and what you don’tenjoy. When you’re young and growing up, don’t letother people’s opinions affect you. Read a play and seea show, and trust your own opinions, and I think thatwill inform your writing.

Theatre

Meet Joe DiPietro

27

Joe DiPietro’s musical, I Love You, You’re Perfect,Now Change, for which he wrote the book and

lyrics, is the longest running musical revue in off-Broadway history, and has been staged in over 150cities throughout the world. Other shows include Overthe River and Through the Woods, The Thing AboutMen, and the comic thriller The Art of Murder.