Books published by publisher Dream Big Productions

In the cosmopolitan Paris of the 1880s, the new proprietors of the Opera House are amused to discover that their costly acquisition is said to be haunted. But their smiles quickly vanish as tragedy follows misfortune: a murdered stagehand, a fatal accident, a missing girl. Fearful tales of the Opera Ghost race through the corridors and dressing rooms of the theatre. And with good reason - for deep in the catacombs beneath the Opera House, something is stirring.... A full cast dramatisation, featuring Anna Massey (Madame Giry), Peter Guinness (The Phantom), Alexander Siddig (The Persian), James D'Arcy (Raoul), Helen Goldwyn (Christine), Tony Millan (Moncharmin), Richard Earl (Richard), Nick Brimble (Philippe/Gaston), Nick Wilton (Lachenel/Mifroid), Geraldine Newman (Madame Valérius), Samantha Hughes (La Carlotta), Nicola Weeks (Meg/Adèle), and singers Linda Richardson (Christine/La Carlotta), Matthew Hargreaves (The Phantom). Director: Barnaby Edwards. Sound design: Matthew Cochrane. Music: Tim Sutton (violin played by Ruth Rogers).

When a young solicitor, Jonathan Harker, visits the heart of Transylvania - ostensibly to meet reclusive nobleman Count Dracula - he cannot begin to imagine what horrors might lie in store for him there...or the chain of events he will set in motion at Castle Dracula. Soon, Dracula's bloodlust spreads to England's shores, and Harker's fiancée, Mina Murray, becomes embroiled in his affairs. Her best friend, Lucy Westenra, falls victim to the vampire's thirst, and it is only with the help of an unlikely bunch of allies that the Count might be defeated...but can the undead ever truly perish? Mark Gatiss stars in this chilling three-hour audio adaptation of Bram Stoker's classic vampire story, dramatised by Jonathan Barnes. This release also includes bonus interviews with Dracula's writer and cast, plus a selection of James Dunlop's soundtrack for the production. Directed by Scott Handcock.

Life in the sleepy town of Red Bat, Nebraska, is one of mind-numbing boredom, as far as Hanna Davies is concerned. But, her sense of normalcy soon evaporates when the disappearance of townsfolk is linked to the arrival of a roaming carnival. When Red Bat falls prey to supernatural creatures that maim, possess, and even kill, Hanna's stepfather becomes the resident monster hunter.

The Arabian Nights was introduced to Europe in a French translation by Antoine Galland in 1704, and rapidly attained a unique popularity. There are even accounts of the translator being roused from sleep by bands of young men under his windows in Paris, importuning him to tell them another story. The learned world at first refused to believe that M. Galland had not invented the tales. But he had really discovered an Arabic manuscript from 16th-century Egypt, and had consulted Oriental story-tellers. In spite of inaccuracies and loss of color, his 12 volumes long remained classic in France, and formed the basis of our popular translations A more accurate version, corrected from the Arabic, with a style admirably direct, easy, and simple, was published by Dr. Jonathan Scott in 1811. The Moslems delight in stories, but are generally ashamed to show a literary interest in fiction. Hence the world's most delightful story book has come to us with but scant indications of its origin. Critical scholarship, however, has been able to reach fairly definite conclusions. The listener will be interested to trace out for themself the similarities in the adventures of the two Persian queens, Schehera-zade, and Esther of Bible story, which M. de Goeje has pointed out as indicating their original identity (Encyclopædia Britannica, Thousand and One Nights). There are two or three references in 10th-century Arabic literature to a Persian collection of tales, called The Thousand Nights, by the fascination of which the lady Schehera-zade kept winning one more day's lease of life. A good many of the tales as we have them contain elements clearly indicating Persian or Hindu origin. But most of the stories, even those with scenes laid in Persia or India, are thoroughly Mohammedan in thought, feeling, situation, and action.