To book Food Network personality Giada De Laurentiis as a celebrity chef speaker or special guest for your next event, please fill out our Hire a Celebrity form. The outgoing spokesperson has had a strong PR campaign and participates in live shows and speaking engagements around the country promoting her books and entertaining audiences with live cooking demonstrations.  Giada De Laurentiis is also a savvy businesswoman, turning her name into a household feature through her Target line of home goods as well as GDL catering company. Her food takes a similar approach, bringing in Italian ingredients and aesthetic with an American twist making it easy for chefs of all levels to follow her famous recipes. Her most recent book, “Giada at Home: Family Recipes fromItaly and California” is a look into her colorful past living growing up in Italy and coming to Southern California at a young age. The famous Italian chef is the author of five top-selling cookbooks and has worked with some of the most famous celebrity chefs in the business. “Everyday Italian” went on the Food Network in 2003 and has been a top cooking program ever since. After seeing her work in top lifestyle and cooking magazines, Food Network reached out to her and offered her a cooking program. Giada began as a chef for Wolfgang Puck’s Los Angeles restaurant, Spago, before she ventured into a career as a food stylist.   The celebrity chef host and judge of “The Next Food Network Star” has created her own line of kitchen utensils and accessories for Target. An interview with chef, New York Times best-selling author, and Emmy Award-winning television personality Giada De Laurentiis about her tenth book. Known as the beautiful host of “Everyday Italian,” Giada De Laurentiis has forged an identity as a top Food Network personality and now an entrepreneur of her own brand. Celebrity chef and Italian cuisine specialist Giada De Laurentiis has become one of the most recognizable stars of the Food Network.

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And it is this journey that any good investigator should think about when he is trying to resolve the crime. Therefore, “Towards Zero” is a proposition that any crime is born long before the zero moment and it is the journey of the criminal, the victim and the bystanders towards that moment. There are so many things that should not have happened but did, and there are so many things that should have happened but did not.  Also, planned or unplanned by the criminal, there are many people and circumstances involved in the process, which may or may not work in his favour. Verner also uses the well-known and notable Superintendent Battle to lead the murder investigation.īy all accounts Christie’s adaptation is a more ambitious and dramatic piece of writing however Verner’s play is structurally strong and provides a faithful and well realised adaptation of Christie’s original novel.After the Funeral: A Hercule Poirot Mystery (Hercule Poirot Mysteries)īut, the crime is first born in the criminal’s mind a long time before he actually puts it in action.  In place of McWhirter, Verner employs the shrewd and insightful Mathew Treves, a lawyer who is now house guest and confidant to Lady Tressilian. His interactions with Audrey are perhaps the most profound of the play – allowing Christie to explore thematically the notions of mortality, suicide, depression and even redemption. Angus McWhirter is perhaps the most important character missing from Verner’s text but makes a very significant contribution to Christie’s original. Moreover, the setting is different Christie’s is set open air on the terrace of Lady Tressilian’s house whereas Verner’s takes a more familiar path and is set in the drawing room.īoth plays contain a familiar core group of characters however there are some important roles that differ. Christie’s adaptation is a three-act, five-scene drama set over eight days with thirteen actors whilst Verner’s version is again three acts but with six scenes set over seven days involving eleven actors. However, there are some important distinctions between the texts. Both explore the idea that murder shouldn’t be the beginning of a story but the end. The events of both plays explore how the characters, through their various interactions move towards a ‘zero hour’ of murder. However, a few years ago, it was discovered that Agatha Christie had in fact written her own stage adaptation of the novel which was commissioned by the Shuberts in 1944 and we present both plays as part of The Collection.īoth versions of the text follow a similar narrative pattern. Arguably the best known adaptation of Agatha Christie’s novel, Towards Zero, was that of prolific writer, Gerald Verner, in 1956.

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