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Broadside Read- a Brief Chronology of Major Events in Trous Failure
NEWSLETTER OF THE THEATRE LIBRARY ASSOCIATION Volume 17, Number 1/Volume 17, Number 2 SPECIAL DOUBLE ISSUE Summer/Fa111989 EXHIBITION SURVEYS MANHATTAN'S EARLY THEATRE HISTORY L An exhibition spotlighting three early New York theatres was on view in the Main I Gallery of The New York Public Library at Lincoln Center from February 13, 1990 through March 31, 1990. Focusing on the Park Theatre on Park Row, Niblo's Garden on Broadway and Prince Street, and Wal- lack's, later called the Star, on Broadway and 13th Street, the exhibition attempted to show, through the use of maps, photo- graphic blowups, programs and posters, the richness of the developing New York theatre scene as it moved northward from lower Manhattan. The Park Theatre has been called "the first important theatre in the United States." It opened on January 29, 1798, across from the Commons (the Commons is now City Hall Park-City Hall was built in 1811). The opening production, As You Like It, was presented with some of the fin- est scenery ever seen. The theatre itself, which could accommodate almost 2,000, was most favorably reviewed. It was one of the most substantial buildings erected in the city to that date- the size of the stage was a source of amazement to both cast and audience. In the early nineteenth century, to increase ticket sales, manager Stephen Price introduced the "star sys- tem" (the importation of famous English stars). This kept attendance high but to some extent discouraged the growth of in- digenous talent. In its later days the Park was home to a fine company, which, in addition to performing the classics, pre- sented the work of the emerging American playwrights. -
Noted English Actresses in American Vaudeville, 1904-1916
“The Golden Calf”: Noted English Actresses in American Vaudeville, 1904-1916 Leigh Woods Vaudeville began as a popular American form, with roots in barrooms before audiences of generally Z unsophisticated tastes. By the time it reached its Jessie Millward was known in her native zenith as a popular form during the first two decades country as a heroine in melodramas. Wholesome of this century, however, it showed a pronounced and fresh-faced, she had entered professional acting taste for foreign attractions rather than for the native in 1881, and joined Sir Henry Irving’s prestigious ones that earlier had anchored its broad accessibility. Lyceum company in London as an ingenue the In these years just after the turn of the century, following year. Her first tour of the United States notable foreign actors from the English-speaking came in 1885, and later that year she acted at what theatre made their ways into vaudeville, aligning would become the citadel of London melodrama, the form, though usually in fleeting and superficial at the Adelphi with William Terriss (Millward, ways, with the glamor and prestige the contempor- Myself 315-16). Her name became indissolubly ary stage enjoyed. This pattern bespeaks the linked with Terriss’ as her leading man through willingness to borrow and the permutable profile their appearances in a series of popular melodramas; that have characterized many forms of popular and this link was forged even more firmly when, entertainment. in 1897, Terriss died a real death in her arms Maurice Barrymore (father to Ethel, Lionel and backstage at the Adelphi, following his stabbing John) foreshadowed what would become the wave by a crazed fan in one of the earliest instances of of the future when, in 1897, he became the first violence which can attend modern celebrity (Rowel1 important actor to enter vaudeville. -
STUDY GUIDE Inside
McGuire Proscenium Stage / Jan 28 – Mar 19, 2017 by GEORGE S. KAUFMAN and EDNA FERBER directed by RACHEL CHAVKIN STUDY GUIDE Inside THE AUTHORS When Edna met George...and wrote some plays • 3 Selected Chronology on the Life and Times of George S. Kaufman and Edna Ferber • 4 Comments by and about the Authors • 9 THE PLAY Synopsis, Characters and Setting • 13 Comments about the Play • 14 The Barrymores: The (Real) Royal Family of Broadway • 16 Myself as I Think Other See Me by Ethel Barrymore • 16 CULTURAL CONTEXT The Lingo of the Stage • 21 People and Things of the Period • 24 THE GUTHRIE PRODUCTION Notes from the Creative Team • 26 ADDITIONAL INFORMATION For Further Understanding • 28 Play guides are made possible by Guthrie Theater Study Guide Copyright 2016 DRAMATURG Carla Steen GRAPHIC DESIGNER Akemi Waldusky RESEARCH Stephanie Engel, Carla Steen All rights reserved. With the exception of classroom use by teachers and Guthrie Theater, 818 South 2nd Street, Minneapolis, MN 55415 individual personal use, no part of this Play Guide may be reproduced in any form or by any means, electronic or mechanical, including ADMINISTRATION 612.225.6000 photocopying or recording, or by an information storage and retrieval system, without permission in writing from the publishers. Some materials BOX OFFICE 612.377.2224 or 1.877.44.STAGE TOLL-FREE published herein are written especially for our Guide. Others are reprinted guthrietheater.org • Joseph Haj, artistic director by permission of their publishers. Jo Holcomb: 612.225.6117 | Carla Steen: 612.225.6118 The Guthrie Theater, founded in 1963, is an American center for theater performance, The Guthrie Theater receives support from the National Endowment production, education and professional training. -
My Years on the Stage
F r o m a o rtr ait b h m h l e e s p y J o s ep D e C a p i n t e c o l c ti o n of The P lay r . J OHN D R E W MY YEARS ONTHE STAGE BY JO H N D R E W WITH A FOREWORD BY BOOT H TARKINGTON NEW YORK DU 8: C A E . P . TTON OMP NY 68 1 FIFT H AVENUE C O R GHT 1 2 1 1 22 PY I , 9 , 9 , BY THE C URT I S PUBLISHING C OMPANY RI HT 1 COPY G , 922, BY E. P . D UTTON C OMPANY All Right: R eserved V” TDW R?) D M m m in the u ni ted S tates o f A merica FOREWORD since How long ago is it, old schoolmate, two “ ” middlers from Exeter rollicked down to New York for an Easter vacation, and on an imperishable evening glamoured their you n g memories permanently with ’ ’ Augustin D aly s comp an y of players at Daly s Theatre and The Tamino of the S hrew ? What a good and merry town was brown- stone New st d o f York then, when one oo at the doors the Fifth Avenue Hotel to see the pretty girls from all over the country parading by after the matinee ; when the Avenue was given over to proud horses and graceful women ; when there were n o automobiles and only a few telephones ; when Ada Rehan w as playing ’ Katherin e at Daly s and when those two Exeter school boys got the impression that the whole place belonged, ' to Petruchz o who in a general way, the tamed her, John Drew ! The earth must have swung round the sun a few i t mes since then, my schoolmate , for now comes that ’ gay young Petrac hz o before us with his Memoirs ! He vi FOREWORD feels that he has memories to entertain and to enlighten us ; he has now lived long enough to have seen some o f thing of the stage and the world, it appears . -
AN ANALYSIS of the LIFE and LEGACY of LOUISA LANE DREW Rivka Kelly University of Vermont
University of Vermont ScholarWorks @ UVM UVM Honors College Senior Theses Undergraduate Theses 2014 THE DUCHESS: AN ANALYSIS OF THE LIFE AND LEGACY OF LOUISA LANE DREW Rivka Kelly University of Vermont Follow this and additional works at: https://scholarworks.uvm.edu/hcoltheses Recommended Citation Kelly, Rivka, "THE DUCHESS: AN ANALYSIS OF THE LIFE AND LEGACY OF LOUISA LANE DREW" (2014). UVM Honors College Senior Theses. 23. https://scholarworks.uvm.edu/hcoltheses/23 This Honors College Thesis is brought to you for free and open access by the Undergraduate Theses at ScholarWorks @ UVM. It has been accepted for inclusion in UVM Honors College Senior Theses by an authorized administrator of ScholarWorks @ UVM. For more information, please contact [email protected]. THE DUCHESS: AN ANALYSIS OF THE LIFE AND LEGACY OF LOUISA LANE DREW A Thesis Presented by Rivka Kelly to The Faculty of the College of Arts and Sciences of The University of Vermont In Partial Fulfillment of the Requirements For the degree of Bachelor of Arts with Honors In Theatre May, 2014 Dedication This thesis is for my wonderful and supportive parents, whose gentle encouragement spurs me on yet reminds me that there are more important things in life than just a paper. Thanks Mom and Dad. And for the Students, Faculty and Staff who have strongly influenced my time here, helping (and sometimes forcing) me to grow personally and academically. I'm especially grateful to Natalie for her example and encouragement, and Avery for his help in the process, and to every single person who listened to me whine about this project. -
52 East 64Th Street an Architectural History
52 East 64th Street An Architectural History Written by Francis Morrone American Architectural Historian & Acclaimed Author of "The Architectural Guidebook to New York City" Presented by the Deanna Kory Team Corcoran Group Real Estate he house at 52 East 64th Street was originally a four-story, brownstone-fronted house built in or before 1878. The earliest recorded use of the house is as Miss Edwards' School in 1878. It Tis possible that the house is slightly older than this. (See New York Evening Post, September 5, 1878.) The house was remodeled and dramatically transformed in 1916-17. The last owner of the house before its transformation into what we see today was the German-born psychiatrist and neurologist Dr. William Hirsch (1858-1937), one of the "alienists" consulted in the murder case against Harry Thaw, the shooter of the architect Stanford White, in 1906. Dr. Hirsch hired the prominent architect Harry Allan Jacobs to design a rear addition to the house in 1901. The house was sold by Dr. Hirsch to the lawyer Foster Crampton of 935 Park Avenue in 1916. Crampton (d. 1926) was a noted sportsman, commodore of the Westhampton Yacht Club, president of the Westhampton Country Club, and life member of the Crescent Athletic Club. (His obituary appeared in the Times on April 23, 1926.) A January 4, 1916, item in the New York Times places Mr. and Mrs. Foster Crampton at the Greenbrier Hotel in White Sulphur Springs, West Virginia. That would have been only a few weeks before Foster Crampton purchased 52 East 64th Street and hired the Greenbrier's architect, Frederick Sterner, to remodel the house. -
The Royal Family by George S
The Royal Family by George S. Kaufman and Edna Ferber Know-the-Show Audience Guide researched and written by Kristen Saran for the Education Department of The Shakespeare Theatre of New Jersey Cover art by Scott McKowen The Shakespeare Theatre of New Jersey The Royal Family: Know-the-Show In this Guide – Kaufman and Ferber ........................................................................................................... 2 – The Royal Family: An Introduction ...................................................................................... 4 – Who’s Who: The Characters in The Royal Family ................................................................ 6 – The Barrymores and the Cavendishes .................................................................................. 7 – Quoteable: Letters and passages about The Royal Family .................................................. 10 – Production History ........................................................................................................... 11 – Glossary: Terms and Phrases in The Royal Family .............................................................. 13 – Explore Online: Links and Resources. ............................................................................... 15 – In This Production ............................................................................................................ 16 – Sources and Further Reading ............................................................................................ 17 1 The Shakespeare Theatre -
SETTING the SCENE: DIRECTORIAL USE of ANALOGY in TWENTIETH-CENTURY AMERICAN SHAKESPEARE PRODUCTIONS by LAWRENCE RONALD TATOM B
SETTING THE SCENE: DIRECTORIAL USE OF ANALOGY IN TWENTIETH-CENTURY AMERICAN SHAKESPEARE PRODUCTIONS by LAWRENCE RONALD TATOM B.A., California State University Sacramento, 1993 M.F.A., University of North Carolina – Greensboro, 1996 A thesis submitted to the Faculty of the Graduate School of the University of Colorado in partial fulfillment of the requirement for the degree of Doctor of Philosophy Department of Theatre 2011 This thesis entitled: Setting the Scene: Directorial Use of Analogy in Twentieth-Century American Shakespeare written by Lawrence Ronald Tatom has been approved for the Department of Theatre. _________________________________ Oliver Gerland, Associate Professor __________________________________ James Symons, Professor Date___________________ The final copy of this thesis has been examined by the signatories, and we Find that both the content and the form meet acceptable presentation standards Of the scholarly work in the above mentioned discipline. IRC protocol # 0902.28 Tatom, Lawrence Ronald (Ph.D., Theatre) Setting the Scene: Directorial Use of Analogy in Twentieth-Century American Shakespeare Productions. Thesis directed by Associate Professor Oliver Gerland This dissertation charts the historical development of the use of analogy by stage directors in twentieth-century American Shakespeare productions. Directorial analogy, the technique of resetting a play into a new time, place or culture that resembles or echoes the time, place or culture specified by the playwright, enables directors to emphasize particular themes in a play while pointing out its contemporary relevance. As the nineteenth century ended, William Poel and Harley Granville-Barker rejected the pictorial realism of the Victorian era, seeking ways to recreate the actors-audience relationship of the Elizabethan stage. -
The Theatre Magazine; an Analysis of Its Treatment of Selected Aspects of American Theatre
This dissertation has been 63-3305 microfilmed exactly as received MEERSMAN, Roger Leon, 1931- THE THEATRE MAGAZINE; AN ANALYSIS OF ITS TREATMENT OF SELECTED ASPECTS OF AMERICAN THEATRE. University of Illinois, Ph.D., 1962 Speech-Theater University Microfilms, Inc.. Ann Arbor. Michigan aa*" *i Copyright by ROGER LEON MEERSMAN 1963 _ < -.-• J-1'.-. v» •>; I, THE THEATRE MAGAZINE: AN ANALYSIS OF ITS TREATMENT OF SELECTED ASPECTS OF AMERICAN THEATRE BY ROGER LEON MEERSMAN B.A., St. Ambrose College, 1952 M.A. , University of Illinois, 1959 THESIS Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in Speech in the Graduate College of the University of Illinois, 1962 Urbana, Illinois UNIVERSITY OF ILLINOIS THE GRADUATE COLLEGE September 20, 1962 I HEREBY RECOMMEND THAT THE THESIS PREPARED UNDER MY SUPERVISION Ttv Roger Leon Meersman FNTTTT.PX> The Theatre Magazine: An Analysis of Its Treatment of Selected Aspects of American Theatre BE ACCEPTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE rw Doctor of Philosophy ./$<j^Y±4S~K Afc^r-Jfr (A<Vf>r In Charge of Thesis yrt rfnSSL•o-g^ . Head of Department Recommendation concurred inf Cw .MluJ^H, ^ya M< Committee ( WgJrAHJ- V'/]/eA}tx.rA on UP, ^A^k Final Examination! fl. ^L^^fcc^A f Required for doctor's degree but not for master's DS17 iii ACKNOWLEDGMENTS I sincerely wish to thank the members of my committee, Professors Karl Wallace, Wesley Swanson, Joseph Scott, Charles Shattuck and Marvin Herrick for establishing high standards of scholarship and for giving me valuable advice in the courses I took from them. -
John Barrymore, Shakespearean Actor Michael A
Cambridge University Press 978-0-521-62028-4 - John Barrymore, Shakespearean Actor Michael A. Morrison Frontmatter More information During the 1920S a wave of postwar ebullience exploded into the Jazz Age, bringing a new and unprecedented accent on youth and a generation that cast off the vestiges of Victorian culture and embraced new trends in art, music, dance, poetry, fiction, and drama. The way was open for an actor who could recapture and redefine the glamour, skill, and galvanizing pres ence of an earlier day. John Barrymore is such an actor, and his Richard III and Hamlet, first seen in New York during the 1919-20 and 1922-3 seasons, stand as high water marks of twentieth-century Shakespearean interpretation. Barrymore was an original, capable of electrifYing audiences with the subtle force and brilliance of his acting. His dynamic portrayals and the groundbreaking in novations of his production team, the director Arthur Hopkins and the de signer Robert Edmond Jones, helped to revitalize Shakespearean acting and production in America and Great Britain and changed the direction of subsequent revivals. In this meticulously researched and richly illustrated book, Michael A. Morrison draws upon newly uncovered sources and firsthand interviews with witnesses who knew the actor or saw him perform. Barrymore's histor ic performances are brought to life through accounts of the preparations, the productions themselves, and the responses of audiences and critics. This fascinating look at one of the more revered and tragic actors of the twentieth century sheds new light on his distinctive contributions in view of past and ensuing theatre traditions. -
The Boston Theatre Earlier Examples from About 1840 to 1880 Are Mainly Broad (1 794-1852 and 1854-1925) Sides, Often Printed on Thin, Fragile Paper
No. 131 NOVEMBER 2004 A Library Letter rom The Boston Athena:um articles about the Athen<Eum's collections, including the sparkling contributions by Michael Wenrworrh that have From the Director recently been collected as Look Agam: Essays on the Boston Athenceum's Art Col/ectrons I have open before me, on the desk in my office, the very For several years, members of the Arhen<Eum's staff first issue of Athenamm Items: A Library Letter from the have felt that it was time for us to make a change to our Boston Athenceum. It is dated March 1934 and its opening "Library Letter": not a mere facelift, and not something article - a mere two paragraphs - is devoted to the completely different (as the saying goes), but in a forma origins of the emblem of the Arhen<Eum, which (it turns that more accurately reflects the Athen<Eum's current out) was adopted on 4 April 1814. The emblem has been audiences. Our intention is to continue to draw refined since it appeared at the head of Athenceum Items in attention to the Library's collections, but to do so by also 1934, but our motto remains the same, and it was in fact writing about our programs, educational endeavors, and the purpose of that opening article in the first number of collaborations in the communities around us. Items to d raw our members' attention to the Library's We are also committed to ensuring that a nationwide collections. audience has a better sense of research opportunities at Readers may be interested in learning that the first iss ue the Athen<Eum and of the historical collections that was only four pages in length, much of it given over to would support scholarly work. -
Once Upon a Time Marshall WAS Center Stage…
Once Upon A Time Marshall WAS Center Stage. The Shooting of Maurice Barrymore © Jack Canson During the period the first Boogie Woogies were being played, Marshall, Texas, briefly occupied center stage in the world of entertainment. That was in 1879 when a local thug attacked three traveling thespians at Nat Harvey’s Lunch Room, near the Texas & Pacific train station, not far from where the present depot and the Ginocchio Hotel are presently situated. Maurice Barrymore Big Jim Currie (sometimes spelled Curry) was the bad guy who put Marshall on the map and in newspapers far and wide. So far as is known to recorded history, he was not working from a plan designed by consultants. He was just being Big Jim – a notorious prevaricator, murderer, drunkard, and sometime T&P detective. There was nothing likeable about him. The occasion was this. A theatrical group, the Wade-Barrymore troupe, was touring the south and west performing a play titled, ironically enough, “Diplomacy.” After a successful performance at Mahone’s Opera House March 19, 1879, three members of the troupe were having lunch at the railroad station as they awaited the northbound train that would take them to Texarkana and their next performance. The actors were Ben Porter, Miss Ellen Cummins, and Maurice Barrymore. Barrymore is remembered today as the scion of a great family of actors. He was the father of Lionel, Ethel, and John Barrymore, and the great-grandfather of contemporary actress Drew Barrymore. In the late 1870s, he was making a name for himself on the New York stage and beyond – literally.