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"Theater and Empire: a History of Assumptions in the English-Speaking Atlantic World, 1700-1860"

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"THEATER AND EMPIRE: A HISTORY OF ASSUMPTIONS IN THE ENGLISH-SPEAKING ATLANTIC WORLD, 1700-1860" BY ©2008 Douglas S. Harvey Submitted to the graduate degree program in History and the Graduate Faculty of the University of Kansas in partial fulfillment of the requirements for the degree of Doctor of Philosophy. ____________________________________ Chairperson Committee Members* ___________________________________* ___________________________________* ___________________________________* ___________________________________* Date Defended: April 7, 2008 The Dissertation Committee for Douglas S. Harvey certifies that this is the approved version of the following dissertation: "THEATER AND EMPIRE: A HISTORY OF ASSUMPTIONS IN THE ENGLISH-SPEAKING ATLANTIC WORLD, 1700-1860" Committee ____________________________________ Chairperson ___________________________________* ___________________________________* ___________________________________* ___________________________________* Date Approved: April 7, 2008 ii Abstract It was no coincidence that commercial theater, a market society, the British middle class, and the “first” British Empire arose more or less simultaneously. In the seventeenth century, the new market economic paradigm became increasingly dominant, replacing the old feudal economy. Theater functioned to “explain” this arrangement to the general populace and gradually it became part of what I call a “culture of empire” – a culture built up around the search for resources and markets that characterized imperial expansion. It also rationalized the depredations the Empire brought to those whose resources and labor were coveted by expansionists. This process intensified with the independence of the thirteen North American colonies, and theater began representing Native Americans and African American populations in ways that rationalized the dominant society’s behavior toward them. By utilizing an interdisciplinary approach, this research attempts to advance a more nuanced and realistic narrative of empire in the early modern and early republic periods. I include a broader spectrum of performance than is typical in this type of analysis, giving equal credence not only to non-Anglo performances, but also to those influenced by folk culture like the circus, street theater, and blackface minstrelsy. These types of performances illuminate the imperial nature of Anglo-American culture and contribute to a new understanding of the imperial assumptions of this period. This study represents another way to give a stronger voice to the historically voiceless. iii Theater and Empire: A History of Assumptions in the English-Speaking Atlantic World, 1700-1860 Table of Contents Introduction ------------------------------------------------------------------------------------- 1 Chapter 1: Empire and the Stage: Capitalism, Politeness, and Enthusiasm ---------- 29 Chapter 2: Whigs and Empire: Republicanism on the North American Stage ------- 79 Chapter 3: Performing a Civil War: Empire in the Age of Revolution ---------------123 Chapter 4: Beyond Nationalism: Democratizing Empire in the Federalist Period --168 Chapter 5: An Expanding Culture of Empire: Theater from Quebec to Pittsburg -- 214 Chapter 6: Westward Ho for Empire: Theater and Performance in the pre-Civil War West and South -------- 274 Conclusion ----------------------------------------------------------------------------------- 333 Bibliography --------------------------------------------------------------------------------- 342 iv Acknowledgments From the time I was first smitten by this topic and the somewhat curious compunction to pursue a doctorate in history, an odyssey of no mean proportions was undertaken – one to which many doctoral students can attest. On the other side of the dissertation coin are the long-suffering archivists who work hard to appease both our pressing needs and mild curiosities. I would like to thank the research room staffs at the Missouri Historical Society in St. Louis, the Ohio Historical Society in Columbus, and the Kansas State Historical Society in Topeka. Also, the librarians at the Leavenworth, Kansas Public Library were quite helpful during my research on early Leavenworth theater. Without exception I found courteous and knowledgeable assistance both during my numerous visits and over telephone and e-mail exchanges. Also, Virgil Dean, the editor of Kansas History , a journal published through the auspices of the state historical society, continues to be a valuable source of information and advice on the Kansas portion of this work. I am fairly certain that none of these people have seen or heard the last of me. Early assistance with this project among KU faculty members should not go unacknowledged. Ethnomusicologist Dr. Clarence Henry (no longer at KU), as well as Dr. Sherry Tucker in American Studies and Dr. Jonathan Earle in the history department were all influential in their assistance along the way. As everyone knows, secretaries keep universities running, and Ellen Garber, Sandee Kennedy, and Nancie Lockwood keep the KU history department running, assuaging miffed graduate students and faculty. They deserve thanks not only from me, but from all who enter the departmental confines. Also I would like to convey many thanks to Dr. Eve Levin, the graduate advisor that happened along at exactly the right moment. v Also, my co-workers and colleagues in the world of teaching deserve more thanks than I can convey. I have benefited particularly from conversations with Drs. William Stockton, Bond Faulwell, James Burns, Robert Perry, James Leiker, and Assistant Dean Dr. Michael Garrett at Johnson County Community College. Also Drs. Thomas Prasch and Bruce MacTavish have been very supportive of me at Washburn University. In my “other” life – my musical career – Lance Zimmerman and Marianne Payette Carter have put up with endless conversations and ramblings about various and sundry political-economic-religious-psychological-philosophical, (to say nothing of musical), themes in our travels throughout the Midwest. Not too many people can say their music supported them when their “real” job did not. I am truly blessed in so many ways to have all of these fine people in my life. In addition, I have been very fortunate to have significant and positive relations with all of my committee members. Both the readings and meetings with Dr. Paul Kelton helped me to develop a better understanding of the history of indigenous America, much of which is still in my head and my notes rather than on the page. My favorite parts of this manuscript are those treating Native American performances and influences, and the paths to those sources were introduced to me by Dr. Kelton. Every doctoral student needs someone adept at “saying what needs to be said.” In my case, Dr. Donald Worster filled that role, and I appreciate his candor, patience, and extensive feedback, especially on evolving forms of the early chapters. Dr. Mechele Leon helped me out of the woods regarding the current discussions of theater, performance, and the performative. Her ongoing suggestions and support have been and continue to be invaluable. Dr. Surendra Bhana has been a great mentor and supporter from my earliest days at KU. His friendly advice on all matters vi academic has been one of the brightest spots in my graduate school experience. My committee chair, Dr. Rita Napier, has also been a godsend. From the early seminar where my oddball interests were clearly on display, she did not shy away from free- thinking on any number of issues, particularly regarding indigenous and imperial cultures. Her willingness to walk me through the final stages of this process will be forever appreciated. It goes without saying that the shortcomings of this study are mine, and its virtues are attributable to my association with these great scholars and human beings. On a more personal level, how I came to have such incredible friends and family who have read my writing, listened to my ramblings, spoken up when needed, and emotionally supported me when I was ricocheting off the walls is a mystery I will simply enjoy and not question. Bob Cameron, now of Englewood, Florida, is one of my two surrogate fathers, the other being Charles MacAlister of Hasty, Arkansas. Along with surrogate older brother Greg Weymann of Osage, Arkansas, these men helped clean me up, dust me off, and send me back to the world ready for more on numerous occasions. I am truly blessed not only to know these men but call them true friends. Also my sister Janet Garner has been a huge help and support during this period. In fact, she has been so pretty much all of my life. On top of that, during the St. Louis portion of this research, where the project began to move out of a long “at sea” period, it was great to have her company at one of the last baseball games played at old Busch Stadium. Her sons and my nephews, Nathan and Nick Garner have been an inspiration in their own right, giving me more than they can know. I also need to thank my step-daughter and her family – Frank and Amanda Lengal (and their children Izzi and Vaughn) – for their hospitality during my stays in vii Columbus, Ohio. Dr. Amanda Lengal’s encouragement and academic experience helped me keep my chin up more than once. Frank’s eagerness to join me in bashing all the appropriate (to us) political figures has provided a welcome respite in times of outrage fatigue. I also would like to thank my step-son Eric Napolitano, and his son Marco, for the interesting conversations and sheer joy of living they continue to bring to my world. Much of the credit for this project must go to my wife, Kathleen Hoff-Harvey, who is the only one who truly knows what it took to complete it. How much she put into this dissertation in vital ways that do not include basic research and writing or even paying the bills, although that was a big part of it, is a thing that only other couples who have been down this road can know. Seven-plus years in a Ph.D. program are enough to destroy many marriages. Ours has only strengthened, primarily because of Kathy’s faith and trust. Even if she had not been the main breadwinner throughout this period, this dissertation would be as much hers as it is mine.
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