The Autobiography of Joseph Jefferson.'

Total Page:16

File Type:pdf, Size:1020Kb

The Autobiography of Joseph Jefferson.' THE AUTOBIOGRAPHY OF JOSEPH JEFFERSON.' AUSTRALIA. ful catastrophe that once occurred in the very sight of the spot where the ship is sailing. We N the 10th of September, 1861, stood out well to sea that night, as the weather I sailed from San Francisco had a threatening aspect, and at daylight, the in the fine ship Nimrod, wind being fair, made again for the land. The bound for Port Phillip and pilot sighted us, and brought the ship safely over the harbor of Sydney. I had the treacherous shoals into the beautiful harbor only my son, my agent, and of Sydney. Once inside, if the day be fine, what my agent's mother with me. perfect fairyland is here: the rocks are of a There were two or three other passengers besides beautiful siena tint, surmounted with rich foli­ ourselves, one of whom I must make special age in every shade of green; numerous little mention of: he was a Catholic priest, a cheer­ crescent bays edged with white sand curve in ful, pleasant man, named Father O'Grady. and out, meeting the deep blue water; islands From California to Australia is what the crowned with tall and graceful trees; parrots sailors call a fair-weather passage, most of it in the gaudiest coats of plumage fly in flocks being made through the trade-winds. Our chattering and screaming through the air; and present voyage was what might be called a the whole harbor is dotted with white sails and pleasant, uneventful trip of sixty-four days, gaily painted streamers. In the middle distance I passed most of the time in reading, sketch­ is the beautiful city of Sydney: a long, low line ing, and trying to divert Father O'Grady from of shipping stretches in front, and as the high celibacy; I told him he was altogether too bluff rises behind the tapering masts, the town, good a fellow for a single man, and assured him with its tall, white stone buildings and church that he would never know what true happi­ spires, finishes the picture. As our ship sailed ness was till he got a wife by his side and had into this dreamland of beauty there was a rich half a dozen children on his knee. Our theo­ purple haze veiling the scene; the sun shone logical arguments on the quarter-deck were a like gold in the far-ofi" horizon, and as it sank source of great amusement to ourselves and behind the city the purple deepened into blue. the passengers. O'Grady when he got excited We reached the town and dropped our anchor, would walk up and down the deck, tossing his the night came slowly on, the new constel­ long arms wildly about as if he were making lations of stars (not seen in our firmament) signals of distress. sparkled over our heads, myriads of lights in We passed to the south, and just in sight the city and the surrounding shipping were re­ of Norfolk Island, which is said to be the love­ flected in the water, and all these glittering gems liest spot in the Pacific Ocean. It was for­ twinkled and flickered like fireflies about us. merly a convict station, but the prisoners had The next morning I rose early, and rejoiced been removed for many years, and the place after sixty-four days' rolling about to get my was then, and I believe is now, occupied by feet once more upon land. As I stepped a colony called the Pitcairn Islanders. The ashore I had that curious sensation which all " mutiny of the Bounty" it will be remembered, must feel when for the first time they find them­ occurred during the latter part of the last cen­ selves in a new country where, though they tury, and the people now living on Norfolk speak the same language, not a soul knows or Island are the descendants of the mutineers. has ever heard of them. I walked through the On the 4th of November the coast of Aus­ busy streets holding my son by the hand, and tralia loomed up before us. A great wall of rocks tightly too, for it was comfort to feel that there rises almost perpendicularly from the ocean, and was some one near who knew and felt an in­ the narrow opening directly in front of us is terest in me. I seemed to regret that I had called Sydney Heads. When a ship arrives come so far from home, and wondered whether in sight of this formidable place it is custom­ I should ever be able to raise any interest ary for the sailors to inform the passengers among the vast crowd of strangers that sur­ that this is the most dangerous spot in the rounded me. world. A thrilling story at this point of the I met my agent by appointment at the lit­ voyage seems to be in order, and one of the tle hotel where we stopped, and he handed crew is generally called upon to relate an aw­ me the money he had gone in quest of The 1 Copyright, 1889, by JOSEPH JEFFERSON. All rights reserved. PRODUCED BY UNZ.ORG ELECTRONIC REPRODUCTION PROHIBITED 136 THE AUTOBIOGRAPHY OF JOSEPH JEFFERSON. first thing to do now was to purchase new concerned the reputation of his theater would clothes, something that would at least faintly be in no way desecrated by any Shaksperean resemble the costumes of the people, which productions. Besides, I admitted his perfect mine certainly did not in any degree. The hat right to protect himself against fraud, and is always the first thing to change; everybody that, as I was a stranger, I proposed first to looks at your hat as soon as you arrive in a show him what my material consisted of, and strange country. These little matters were soon wound up by oflfering to rent his theater and amended, and in a short hour I looked quite company, paying him a good bonus to relin­ like the people, but not a bit like myself My quish the management into our hands for a agent had been a manager in Australia some month, and that if we could agree upon terms years before, so he knew everybody. We went his money should be paid in advance. At this to the theater, where he introduced me to the proposal the hard features of Mr. Rolamo manager; and as I shall have some little softened into an oily sweetness that was lovely business relations with this gentleman of an to behold; he gendy put out both hands to interesting sort, perhaps it will be as well to grasp mine, his eyes fairly beamed on me with describe him, he being almost an historical affection, and his heart seemed so touched that character. He was an under-sized, round- it quite choked his utterance. shouldered little cockney, named Rolamo. " My dear lad," said he, " that 's the way I Where he got this remarkably Italian appel­ likes to hear a cove talk; for I always believes lation I cannot say, but if his ancestors be­ in a cove wot beheves in hisself" longed to the " land of song " they must have Terms were soon agreed upon, and it was strayed into the very heart of Whitechapel settled that the contract should be signed that just previous to the birth of their son and heir, evening and the first advance paid. In due as' his dialect was strongly impregnated with time our printing was posted on the walls, and the drawling twang of that locality. It is the lithographs — a novel feature in those days recorded of him that he never was known — were placed in the shop windows. I passed to put an h in the right place, and his talent my time in wandering about the streets, ob­ for reversing the w and v almost amounted to serving the startled inhabitants as they scanned genius. He had originally been lamplighter the pictures, stopping from time to time to lis­ in the theater, but by his industry and intelli­ ten to their remarks. gence he rose to be its manager, and he was in Of course my first night in Sydney was spent the zenith of his fame when I arrived in Aus­ at the theater, always an attractive point to the tralia. After my introduction by my agent to actor. It is said that few men are in love with Mr. Rolamo as the coming man who was to their vocation, but this remark cannot be make his (the manager's) fortune, that worthy apphed with justice to members of the theatri­ cast a patronizing eye over me, but did not cal profession; some actors will play without seem at all overwhelmed, taking my arrival salary rather than not act at all. On this oc­ with provoking coolness. This chilling atmos­ casion, however, it was more a matter of busi­ phere pervaded the office until my agent un­ ness than pleasure that took me to the play. rolled some highly inflammable printed matter, I was anxious to see the kind of acting that the novel character of which seemed to attract was most effective here, and also to examine the great man's attention, and condescending the qualities of the company in reference to to address me, he said, "You see, Mr. Jef­ their fitness for the characters in my Ust of fries,—oh, beg pardon; Jimmison, I mean,— plays. I found the acting much better than I with all due respect to you, there 'as been so expected; in fact, throughout the colonies I many blawsted Yankee comics over 'ere that was invariably impressed by this dramatic we are kind o' sick on 'em.
Recommended publications
  • Appendix: Famous Actors/ Actresses Who Appeared in Uncle Tom's Cabin
    A p p e n d i x : F a m o u s A c t o r s / Actresses Who Appeared in Uncle Tom’s Cabin Uncle Tom Ophelia Otis Skinner Mrs. John Gilbert John Glibert Mrs. Charles Walcot Charles Walcott Louisa Eldridge Wilton Lackaye Annie Yeamans David Belasco Charles R. Thorne Sr.Cassy Louis James Lawrence Barrett Emily Rigl Frank Mayo Jennie Carroll John McCullough Howard Kyle Denman Thompson J. H. Stoddard DeWolf Hopper Gumption Cute George Harris Joseph Jefferson William Harcourt John T. Raymond Marks St. Clare John Sleeper Clarke W. J. Ferguson L. R. Stockwell Felix Morris Eva Topsy Mary McVicker Lotta Crabtree Minnie Maddern Fiske Jennie Yeamans Maude Adams Maude Raymond Mary Pickford Fred Stone Effie Shannon 1 Mrs. Charles R. Thorne Sr. Bijou Heron Annie Pixley Continued 230 Appendix Appendix Continued Effie Ellsler Mrs. John Wood Annie Russell Laurette Taylor May West Fay Bainter Eva Topsy Madge Kendall Molly Picon Billie Burke Fanny Herring Deacon Perry Marie St. Clare W. J. LeMoyne Mrs. Thomas Jefferson Little Harry George Shelby Fanny Herring F. F. Mackay Frank Drew Charles R. Thorne Jr. Rachel Booth C. Leslie Allen Simon Legree Phineas Fletcher Barton Hill William Davidge Edwin Adams Charles Wheatleigh Lewis Morrison Frank Mordaunt Frank Losee Odell Williams John L. Sullivan William A. Mestayer Eliza Chloe Agnes Booth Ida Vernon Henrietta Crosman Lucille La Verne Mrs. Frank Chanfrau Nellie Holbrook N o t e s P R E F A C E 1 . George Howard, Eva to Her Papa , Uncle Tom’s Cabin & American Culture . http://utc.iath.virginia.edu {*}.
    [Show full text]
  • Joe Jefferson Players Scrapbooks
    Guide to the Joe Jefferson Players Scrapbooks Descriptive Summary: Creator: Jeanette Maygarden Title: Joe Jefferson Players Scrapbooks Dates: 1947-2006 Quantity: 9.7 linear feet Abstract: A collection of scrapbooks containing material related to the theatrical performances of the Joe Jefferson Players. Accession: 00-08-365 ; 365-2000 Biographical Note: In 1947 a small group of Mobilians, intent on restoring the city's waning theatre activity after the depression and war years, initiated the Joe Jefferson Players. Successful in their efforts, the Players were in possession of their own permanent playhouse by 1949 and by 1961 membership totaled over 1000. By 1967 the membership limit was raised to 2000, and continued popularity demanded the expansion of an already once-rebuilt playhouse in the same year. Despite the challenges of subsequent years: hurricanes, financial difficulties, and increasing competition from other sources of local live entertainment, the Joe Jefferson Players remain active to this day, having finished their fifty-ninth season at the time this guide was written. The Joe Jefferson Players took their name from prominent nineteenth-century actor Joseph Jefferson III (1829-1905), a man born into a family of notable actors and theatre workers. Starting at the age of four, Joe devoted the next seventy-two years of his life to the theatre, traveling around the world from London to New Zealand and performing a variety of roles, the most notable of which is undoubtedly his portrayal of "Rip Van Winkle." In 1893 he succeeded Edwin Booth as president of the Players Club, a national organization, making him the acknowledged head of American actors.
    [Show full text]
  • Comic Actors and Comic Acting on the 19Th Century American Stage
    "Those That Play Your Clowns:" Comic Actors and Comic Acting on the 19th Century American Stage Barnard Hewitt (Barnard Hewitt's Fellows Address was delivered at the ATA Convention in Chicago, August 16, 1977.) It seems to me that critics and historians of theatre have neglected comedians and the acting of comedy, and I ask myself why should this be so? Nearly everyone enjoys the acting of comedy. As the box office has regularly demonstrated, more people enjoy comedy than enjoy serious drama. I suspect that comedy and comedians are neglected because critics and scholars feel, no doubt unconsciously that because they arouse laughter rather than pity and fear, they don't deserve serious study. Whatever the reason for this neglect, it seems to me unjust. In choosing the subject for this paper, I thought I might do something to redress that injustice. I hoped to identify early styles of comic acting on our stage, discover their origins in England, note mutations caused by their new environment, and take note of their evolution into new styles. I don't need to tell you how difficult it is to reconstruct with confidence the acting style of any period before acting was recorded on film. One must depend on what can be learned about representative individuals: about the individual's background, early training and experience, principal roles, what he said about acting and about his roles, pictures of him in character, and reports by his contemporaries - critics and ordinary theatregoers - of what he did and how he spoke. First-hand descriptions of an actor's performance in one or more roles are far and away the most enlightening evidence, but nothing approaching Charles Clarke's detailed description of Edwin Booth's Hamlet is available for an American comic actor.1 Comedians have written little about their art.2 What evidence I found is scattered and ambiguous when it is not contradictory.
    [Show full text]
  • The Theatre in Mississippi from 1840 to 1870. Guy Herbert Keeton Louisiana State University and Agricultural & Mechanical College
    Louisiana State University LSU Digital Commons LSU Historical Dissertations and Theses Graduate School 1979 The Theatre in Mississippi From 1840 to 1870. Guy Herbert Keeton Louisiana State University and Agricultural & Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_disstheses Recommended Citation Keeton, Guy Herbert, "The Theatre in Mississippi From 1840 to 1870." (1979). LSU Historical Dissertations and Theses. 3399. https://digitalcommons.lsu.edu/gradschool_disstheses/3399 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Historical Dissertations and Theses by an authorized administrator of LSU Digital Commons. For more information, please contact [email protected]. INFORMATION TO USERS This was produced from a copy of a document sent to us for microfilming. While the most advanced technological means to photograph and reproduce this document have been used, the quality is heavily dependent upon the quality of the material submitted. The following explanation of techniques is provided to help you understand markings or notations which may appear on this reproduction. 1. The sign or “target” for pages apparently lacking from the document photographed is “Missing Pagefs)”. If it was possible to obtain the missing pagefs) or section, they are spliced into the film along with adjacent pages. This may have necessitated cutting through an image and duplicating adjacent pages to assure you of complete continuity. 2. When an image on the film is obliterated with a round black mark it is an indication that the film inspector noticed either blurred copy because of movement during exposure, or duplicate copy.
    [Show full text]
  • Iowner of Property
    National Historic Landmark: Literature, Form No. 10-300 (Rev. 10-74) Drama and Music UNITED STATES DEPARTMENT OF THE INTERIOR NATIONAL PARK SERVICE NATIONAL REGISTER OF HISTORIC PLACES INVENTORY -- NOMINATION FORM SEE INSTRUCTIONS IN HOW TO COMPLETE NATIONAL REGISTER FORMS _____________TYPE ALL ENTRIES - COMPLETE APPLICABLE SECTIONS______ | NAME HISTORIC The Players Club ______ ~ AND/OR COMMON The Players Club________ ____________________ LOCATION STREET& NUMBER 16 Gramercy Park _NOT FOR PUBLICATION CITY. TOWN CONGRESSIONAL DISTRICT New York VICINITY OF 17 STATE CODE COUNTY CODE New York 36 New York 61 CLASSIFICATION CATEGORY OWNERSHIP STATUS PRESENT USE _DISTRICT —PUBLIC —^OCCUPIED —AGRICULTURE —MUSEUM _XBUILDING<S) iLPRIVATE —UNOCCUPIED —COMMERCIAL —PARK —STRUCTURE —BOTH —WORK IN PROGRESS —EDUCATIONAL —^PRIVATEXp RESIDENCE —SITE PUBLIC ACQUISITION ACCESSIBLE —ENTERTAINMENT —RELIGIOUS —OBJECT _IN PROCESS JlYES: RESTRICTED —GOVERNMENT —SCIENTIFIC _BEING CONSIDERED _YES: UNRESTRICTED —INDUSTRIAL —TRANSPORTATION _NO _MILITARY —OTHER: IOWNER OF PROPERTY NAME The Players, Alfred Drake, President STREET & NUMBER 16 Gramercy Park___________ CITY, TOWN STATE New York VICINITY OF New York LOCATION OF LEGAL DESCRIPTION COURTHOUSE, REGISTRY OF DEEDS, ETC. New York County Hall of Records STREETS NUMBER 31 Chambers Street CITY, TOWN STATE New York New York REPRESENTATION IN EXISTING SURVEYS TITLE None DATE —FEDERAL —STATE —COUNTY —LOCAL DEPOSITORY FOR SURVEY RECORDS CITY, TOWN STATE DESCRIPTION CONDITION CHECK ONE CHECK ONE ^EXCELLENT —DETERIORATED _UNALTERED .X ORIGINAL SITE _GOOD —RUINS .^ALTERED, minor DATE. _FAIR _UNEXPOSED DESCRIBETHE PRESENT AND ORIGINAL (IF KNOWN) PHYSICAL APPEARANCE The Players Club house was built circa 1845 as a private residence at 16 Gramercy Park. Booth purchased the house in 1888 from its second owner for $75,000 and commissioned Stanford White of the New York architectural firm of McKim, Mead and White to redesign the townhouse as a clubhouse.
    [Show full text]
  • Dion Boucicault: Showman and Shaughraun
    DOI: http://dx.doi.org/10.5007/2175-8026.2020v73n2p137 DION BOUCICAULT: SHOWMAN AND SHAUGHRAUN Maureen Murphy1* 1Hofstra University, Hempstead, NY, United States of America Abstract Dion Boucicault’s three Irish plays: The Colleen Bawn (1860), Arrah-na- Pogue (1864) and The Shaughraun(1874), while not critically significant, owe their perennial popularity to their appeal to Irish romantic nationalism and to their memorable character types. While Boucicault’s character Myles Murphy or Myles na gCopaleen (Myles of the Ponies), an example of his native Irish hero, was the first of a series of rogue heroes that John Millington Synge developed in his character of Christy Mahon, Boucicault also owes the character of Myles to American native heroes like Sam Patch, Davy Crockett and Mose the Bowery B’hoy. While the plays are not great drama, they are good theatre and a less self-conscious national theatre has found room for both Boucicault and Synge. Keywords: Boucicault; Synge; Romantic Nationalism; Rogue Heroes; Native American Heroes * Professor Emerita of Teaching and Learning at Hofstra University in Hempstead, New York. She is the author of Compassionate Stranger. Asenath Nicholson and the Great Irish Famine. She wrote the Great Irish Famine Curriculum for the New York State Education Department and is the historian of the Irish Hunger Memorial in Battery Park City and the co-historian of the Irish Mission at Watson House. She has been the President of the American Conference for Irish Studies and Chair of the International Association for the Study of Irish Literatures. Her email is [email protected] .
    [Show full text]
  • Joseph Jefferson Mansion (Rip Van Winkle Gardens) New Iberia, LA
    Investigation Summary Report Joseph Jefferson Mansion (Rip Van Winkle Gardens) New Iberia, LA HISTORY Jefferson Island, first of the famous "Five Islands” of south Louisiana, found its origin in prehistory when the enormous pressures of the earth forced a plug of pure rock salt up from a mother bed, five miles below the surface. This elevated several low hills in the coastal marshes. "Treasure Island" might equally well be its name, for, besides the inexhaustible deposits of salt, there are also mineral deposits of oil, gas, and sulphur. A gentle climate, adequate rainfall and a fertile soil help to produce a gardener's dream thus making possible the abundant and luxuriant floral beauty of the Island. Full advantage has been taken of these valuable natural resources, as well as the rolling terrain, in the creation of twenty acres of gardens on Jefferson Island. Originally a Spanish land grant, "Orange Island," as it was first known, fell into the hands of a brother-in-law of Jean Lafitte, the notorious pirate and privateer. During the time he was terrorizing the Gulf and-Caribbean areas, Lafitte often sought refuge here, since his shallow-draft pirate boats were able to negotiate Bayou Carlin into beautiful Lake Peigneur, where he could not be followed by Men-of-War. Hence, it is rumored that Lafitte, at various times, buried his booty and treasure here on the Island. Actually, this was partially substantiated in 1923, when a treasure consisting of 3 pots of Spanish, Mexican, French and American gold and silver coins was uncovered by an old Voodoo Doctor named Daynite.
    [Show full text]
  • This Iroquois Theater Program Was a Bound Hardback Book Distributed at the November 23, 1903 Opening Night Performance of the Theater
    This Iroquois Theater program was a bound hardback book distributed at the November 23, 1903 Opening Night Performance of the theater. This pdf file is constructed of searchable content converted from the original. Alternate versions: Photomechanically altered version of Program improves readability Replica version of Program Arranged and Published by THOMAS J. NOONAN. Historical Pictures from Collection of EDWARD FREIBERGER. Plates and Engravings F. G. JUNGBLUT & CO. Press of RAND, McNALLY & CO. Iroquois Theatre RANDOLPH BETWEEN STATE AND DEARBORN STS., CHICAGO Dedicatory Perfomance Opening Attraction Klaw & Erlanger's Mr Blue Beard NOVEMBER, 23 1903 IROQUOIS THEATRE RANDOLPH BETWEEN STATE AND DEARBORN STREETS, CHICAGO. ILL. RANDOLPH, BETWEEN STATE AND DEARBORN STREETS CHICAGO Erected and owned by The Iroquois Theatre Company directors and proprietors William J. Davis Harry J. Powers A. L. Erlanger J. Fred Zimmerman Sam'l F. Nixon Marc Klaw WILLIAM J. DAVIS. HARRY J. POWERS, Resident Owners and Managers The Business and Working Staff Includes THOMAS J. NOONAN, Business Manager and Treasurer Edward Dillon Will J. Davis, Jr. Box office Helen Hagan, Secretary J. E. G. Ryan, Press Representative Antonio Frosolono, Director of Music G. N. Dusenberry, Doorkeeper Ed. J. Cummings, Master Carpenter Walter Hueston, Electrician Robert Murray, Engineer IROQUOIS THEATRE Randolph, between State and Dearborn Sts., Chicago. Beginning Monday, November 23, 1903. Every Evening, Including Sunday. Wednesday and Saturday Matinees. KLAW & ERLANGER present MR. BLUE BEARD The Great Spectacular Entertainment from Theatre Royal. Drury Lane, London By J. HICKORY WOOD and ARTHUR COLLINS Adapted for the American Stage by JOHN J. McNALLY The Lyrics, unless otherwise indicated, by J.
    [Show full text]
  • A Prompt Script Study of Nineteenth-Century Legitimate Stage
    This dissertation has been 61-5114 microfilmed exactly as received OBEE, Harold Brehm, 1915- A PROMPT SCRIPT STUDY OF NINETEENTH- CENTURY LEGITIMATE STAGE VERSIONS OF RIP VAN WINKLE. The Ohio State University, Ph.D., 1961 Speech - Theater University Microfilms, Inc., Ann Arbor, Michigan A PROMPT SCRIPT STUDY OP NINETEENTH-CENTURY LEGITIMATE STAGE VERSIONS OP RIP VAN WINKLE DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Dootor of Philosophy in the Graduate Sehool of The Ohio State University By Harold Brehm Obee, A.B*f M*A* ****** The Ohio State University 1961 Approved by Department of Speeoh TABLE OP CONTENTS Chapter Page I . THE PROBLEM................................................................................................ 1 Statement of Objectives • •••••••.••••»•• 2 Scope and Organisation ......................... 2 Resources and Methods ••••.••••••••••.. 5 I I . NINETEENTH-CENTURY BACKGROUND FOR RIP VAN WINKLE PRODUCTION............................................................. 19 The Stage 24 Stage Directions 27 Scenery •••••••••.. ............................... .•••• SO Transitions • 42 Machinery ......................... 44 Special Effects 49 L ighting •••••.................................... 64 I I I . ACTORS AND AUTHORS OP RIP VAN WINKLE ADAPTATIONS .... 66 Principal A otors ••»••••»..•« 66 Principal Authors ......................... 94 IV. IDENTIFICATION AND DEVELOPMENT OP RIP VAN WINKLE TEXTS................................................................. 110 Dramatic Type ....................
    [Show full text]
  • Archives and Special Collections
    Archives and Special Collections Dickinson College Carlisle, PA COLLECTION REGISTER Name: Bridges, Robert (1858-1941) MC 2012.12 Material: Papers, 1875-1937 Volume: 5.5 Linear Feet (Document Boxes 1-11, 12 Photograph Folders, 1 Oversized Box, and 1 Artifact Box) Donation: Gifts of Charles Gilbert Beetem, Mrs. John M. Bridges, and Boyd Lee Spahr, 1953, 1958 Usage: These materials have been donated without restrictions on usage. BIOGRAPHICAL NOTE Robert Bridges was born in Shippensburg, Pennsylvania on July 13, 1858 to John and Mary Bridges. Throughout his long literary career, Bridges was often confused with the British poet laureate of the same name, and hence often signed his writings with the nickname “Droch”, a Gaelic translation of his name, in order to differentiate himself. Bridges studied at the local teachers’ college, Cumberland Valley State Normal School (now Shippensburg University), before attending Princeton, graduating in 1879 and holding the title of class president. During his time at Princeton, Bridges performed writing and editing work for The Princetonian and The Nassau Literary Magazine. Bridges’ closest acquaintance was Woodrow Wilson, and the two lived in the same dormitory. They remained good friends after graduation, and Bridges would later attend Wilson’s inauguration and other White House events. Following his graduation from Princeton, Bridges served as a newspaper reporter for the Rochester Democrat and Chronicle, and then spent six years (1881-1887) as the assistant editor of the New York Evening Post. A man of many talents, Bridges also held the position of literary critic for Life, writing hundreds of reviews over a span of seven years (1883-1890).
    [Show full text]
  • The History of the Savannah Theater, 1865-1906
    Louisiana State University LSU Digital Commons LSU Historical Dissertations and Theses Graduate School 1970 The iH story of the Savannah Theater, 1865-1906. Robert Lane Overstreet Louisiana State University and Agricultural & Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_disstheses Recommended Citation Overstreet, Robert Lane, "The iH story of the Savannah Theater, 1865-1906." (1970). LSU Historical Dissertations and Theses. 1799. https://digitalcommons.lsu.edu/gradschool_disstheses/1799 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Historical Dissertations and Theses by an authorized administrator of LSU Digital Commons. For more information, please contact [email protected]. 71-3431 OVERSTREET, Robert Lane, 1930- < THE HISTORY OF THE SAVANNAH THEATER, j 1865-1906. ' ! ! The Louisiana State University and Agricultural \ and Mechanical College, Ph.D., 1970 } Speech-Theater j i j University Microfilms, Inc., Ann Arbor, Michigan [ s J THIS DISSERTATION HAS BEEN MICROFILMED EXACTLY AS RECEIVED The History of the Savannah theater, 1865-1906 A Dissertation Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Doctor of Philosophy in The Department of Speech by Robert Lane Overstreet A.B., North Georgia College, 1950 M.A., Northwestern University, 1957 May, 1970 The History of the Savannah Theater, 186£-1906 Volume I ACKNOWLEDGMENT The writer gratefully acknowledges his debt to Dr. Claude L. Shaver, for whom his admiration has steadily increased, and to the members of his committee, Ur.
    [Show full text]
  • University Microfilms
    INFORMATION TO USERS This dissertation was produced from a microfilm copy of the original document. While the most advanced technological means to photograph and reproduce this document have been used, the quality is heavily dependent upon the quality of the original submitted. The following explanation of techniques is provided to help you understand markings or patterns which may appear on this reproduction. 1. The sign or "target" for pages apparently lacking from the document photographed is "Missing Page(s)". If it was possible to obtain the missing page(s) or section, they are spliced into the film along with adjacent pages. This may have necessitated cutting thru an image and duplicating adjacent pages to insure you complete continuity. 2. When an image on the film is obliterated with a large round black mark, it is an indication that the photographer suspected that the copy may have moved during exposure and thus cause a blurred image. You will find a good image of the page in the adjacent frame. 3. When a map, drawing or chart, etc., was part of the material being photographed the photographer followed a definite method in "sectioning" the material. It is customary to begin photoing at the upper left hand corner of a large sheet and to continue photoing from left to right in equal sections with a small overlap. If necessary, sectioning is continued again — beginning below the first row and continuing on until complete. 4. The majority of users indicate that the textual content is of greatest value, however, a somewhat higher quality reproduction could be made from "photographs" if essential to the understanding of the dissertation.
    [Show full text]