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 . G e o r g e H o w a r d , Eva to Her Papa , Uncle Tom’s Cabin & American Culture . http://utc.iath.virginia.edu {*}. 2 . Harriet Beecher Stowe, “Uncle Tom’s Cabin,” National Era blog, Harriet Beecher Stowe Center website. www.harrietbeecherstowecenter.org. 3 . J . C . F u r n a s , Goodbye, Uncle Tom (New York. The Macmillan Company, 1 9 5 6 ) , p . 2 5 4 . 4 . Isaac Blaine Quarnstrom, Harmount’s Uncle Tom Cabin Company: A Study of a Twentieth-Century “Tom” Show. PhD Dissertation. The Ohio State University, 1967 , p. 252. 5 . Arnett, Frank S., “Fifty Years of Uncle Tom,” Munsey’s Magazine (September 1902 ): 900. {*}; Miscellaneous clippings, Birdoff Collection, Harriet Beecher Stowe Center; Miscellaneous clippings, Harry Ransom Humanities Research Center, the University of Texas. See the appendix for a more complete list of American stage stars who performed in Uncle Tom’s Cabin . 6 . Sarah Meer. Uncle Tom Mania: Slavery; Minstrelsy & Transtlantic Culture in the 1850s. (Athens, Ga: University of Georgia Press, 2005). Sarah Meer defines “Tom mania” as a “phrase that encompassed the extraordinary public interest in Stowe’s book aroused on both sides of the Atlantic, its unprecedented sales, and the volume of ink spent in responding to it” (p. 1). The phenomenon encompassed not only the novel and criticism of it, but the manufacture and sale of material artifacts, songs, poems, and performances such as dramas, panoramas, burlesques, and magic lantern shows. 7 . Correspondence with Jenee Gill, Managing Director, San Francisco Mime Troupe February 7, 2011. 8 . E r i c L o t t ; Love and Theft ; Elizabeth Young, Disarming the Nation; Marc Robinson, The American Play, 1787–2000 ; JaneTompkins, Sensational Designs ; Elizabeth Ammons, “Heroines in Uncle Tom’s Cabin .” Critical Essays On Harriet Beecher Stowe ; Eric Sundquist, ed., New Essays on Uncle Tom’s Cabin . 232 Notes

1 HALFWAY BETWEEN SERMON AND SOCIAL THEORY: THE MANIA FOR “TOM MANIA”

1 . Uncle Tom’s Cabin & American Culture, www. iath.virginia.edu/utc/condi tions.html. {*} 2 . H a r r y B i r d o f f , The World’s Greatest Hit: Uncle Tom’s Cabin (New York: S. F. Vanni, 1947 ), p. 2; “The Modern ‘Uncle Tom’s Cabin’ Parade,” New York Times, February 11, 1906. {*} 3 . Descriptions in this paragraph are from Birdoff, The World’s Greatest Hit , pp. 2–5; J. Frank Davis, “Tom Shows.” Scribner’s 77 (April 1925 ): 354. {*} 4 . Davis, “Tom Shows,” p. 354. {*} 5 . Ibid., p. 350. {*} 6 . Sarah Meer, Uncle Tom Mania: Slavery, Minstrelsy & Transatlantic Culture in the 1850s (Athens, GA: Univerity of Georgia Press, 2005 ), p. 4; Jane P. Tomkins, Sensational Designs: The Cultural Work of American Fiction, 1790–1860 (New York: Oxford University Press, 1985 ), p. 124. 7 . Elizabeth Ammons, “Preface,” in Uncle Tom’s Cabin, ed. Elizabeth Ammons (New York: W.W. Norton & Company, 1994), p. vii. 8 . P a g e S m i t h , The Nation Comes of Age: A People’s History of the Ante-Bellum Years (New York: Penguin Bros, 1981), Vol. 4, pp. 602–11; Michael F. Holt, “Getting the Message Out: Abolitionism,” http://dig.lib.niu.edu/message /ps-abolitionism.html; “I Will Be Heard: Abolitionism in America,” Cornell University, http://rmc.library.cornell.edu/abolitionism/. 9 . “Notices of New Works,” Unsigned Article, The Southern Literary Messenger , October 1852 ; {*} “Uncle Tom’s Cabin,” Unsigned Article, Southern Literary Messenger , December 1852 ; {*} William Gilmore Simms, Southern Quarterly Review , July 1853 . {*} In the opinion of Thomas Gossett, the first article was most likely written by John R. Thompson, Editor of The Southern Literary Messenger, while the second was most likely by George Frederick Holmes. As Laura Mielke outlines in the Spring edition of The Journal of American Drama and Theatre (21: 2), Simms was a dramatist in his own right, penning a never-produced pro-slavery play in 1847. However, according to Charles S. Watson, citing William Trent, William Gilmore Simms (1892), Simms may not have written the 1853 review himself. Rather, he may have assigned it to Lousia Cheves McCord, preferring to have a woman respond to Stowe. Simms, however, did write his own review in The Southern Literary Messenger in October 1852 ( American Literature , 48, No. 3 (November 1976)). 1 0 . E r i c S u n d q u i s t , New Essays on Uncle Tom’s Cabin (Cambridge: Cambridge University Press, 1986 ), p. 36; Unsigned Article, Th e Mercury, Charleston: May 25, 1852 . {*} 11 . Information in this paragraph is from Joan D. Hedrick, Harriet Beecher Stowe: A Life (Oxford: Oxford University Press, 1994 ), p. 235. 12 . Stephen Johnson, “Time and Uncle Tom: Familiarity and Shorthand in the Performance Traditions of Uncle Tom’s Cabin,” in Performing Adaptations , Notes 233

ed. Michelle MacArthur, Lydia Wilkinson, and Keren Zaiontz (Cambridge: Cambridge Scholars Publishing, Fall 2009 ), p. 87; Sundquist, New Essays on Uncle Tom’s Cabin , p. 1; Tomkins, Sensational Designs , p. 125. 13 . David S. Reynolds, Beneath the American Renaissance: Th e Subversive Imagination the Age of Emerson and Melville (Cambridge, MA: Harvard University Press, 1988 ), p. 76; Henry James in Reynolds, Beneath the American Renaissance , p. 79. 14 . Philip Hone in Smith, Vol. 4, Th e Nation Comes of Age , p. 1067. 1 5 . S u n d q u i s t , New Essays on Uncle Tom’s Cabin , p. 7. 1 6 . P a t r i c i a H i l l , “ Uncle Tom’s Cabin as a Religious Text.” Paper presented at the Uncle Tom’s Cabin in the Web of Culture Conference, Harriet Beecher Stowe Center, June 2007 , p. 4; Hill, “Uncle Tom’s Cabin as a Religious Text,” article on the Uncle Tom’s Cabin & American Culture; {*} Henry Steele Commager, Th e Era of Reform, 1830–1860 (Princeton: D. Van Nostrand Company, 1 9 6 0 ) , p . 8 . 1 7 . J a m e s B r e w e r S t e w a r t , Abolitionist Politics and the Comings of the Civil War (Amherst: University of Massachusetts Press, 2008 ), pp. 220–21. 1 8 . S u n d q u i s t , New Essays on Uncle Tom’s Cabin , p. 9. 1 9 . E r i c L o t t , Love and Th eft (Oxford: Oxford University Press, 1993 ), p. 216. 2 0 . C y n t h i a G r i ffi n Wolff , “Masculinity in Uncle Tom’s Cabin ,” American Quarterly 47 ( 1995 ): 611. 2 1 . I b i d . , p p . 5 9 8 – 6 0 0 . 2 2 . G i l l i a n B r o w n , Domestic Individualism: Imagining Self in Nineteenth-century America (Berkeley: University of California Press, 1990 ), pp. 15–16. 2 3 . I b i d . 2 4 . N i n a B a y m , Woman’s Fiction: A Guide to Novels By and About Women in America 1820–70 (Urbana: University Press of Illinois, 1993), p. x. 2 5 . I b i d . , p . x x . 2 6 . G l e n n H e n d l e r , Public Sentiments: Structures of Feeling in Nineteenth-century American Literature (Chapel Hill: University of North Carolina Press, 2001 ), p. 10. 2 7 . I b i d . , p . 9 . 28 . Ibid., p. 3; Harriet Beecher Stowe cited in Hendler, Public Sentiments , p. 3. 2 9 . T o m k i n s , Sensational Designs , p. 126. 3 0 . Th e concept of a Structure of Feeling is outlined in Raymond Williams, Marxism and Literature (Oxford: Oxford University Press, 1977 ), pp. 131–32. 31 . Eric Sundquist cited in Meer, Uncle Tom Mania , p. 29. 3 2 . T o m k i n s , Sensational Designs , p. 135. 33 . In her study of melodrama, Melodramatic Tactics: Th eatricalized Dissent in the English Marketplace, 1800–1885 (Stanford, CA: Stanford University Press, 1995 ), Elaine Hadley postulates that melodrama was a non-intellectual response to social and economic conditions of the nineteenth century. Th e tendency to view nineteenth-century life in melodramatic terms, Hadley 234 Notes

termed the melodramatic mode, a concept that closely resembles Williams’ structure of feeling in its visceral nature. 34 . “Mixed text” here is consistent with David Reynolds’ use of the term in Beneath the American Renaissance (p. 76). 3 5 . Th omas P. Riggio, “Uncle Tom Reconstructed: A Neglected Chapter in the History of a Book,” American Quarterly 28 (Spring 1976 ): 68. 36 . Eric Lott, “Blackface and Blackness: Th e Minstrel Show in American Culture,” in Beneath the Minstrel Mask: Readings in Nineteenth-century Blackface Minstrelsy, ed. Annemarie Bean, James V. Hatch, and Brooks McNamara (Hanover, NH: Wesleyan University Press, 1996 ), p. 22. 3 7 . G e o r g e M . F r e d r i c k s o n , Th e Black Image in the White Mind: Th e Debate on Afro- American Character and Destiny, 1817–1914 (Middletown, CT: Wesleyan University Press, 1971 ), pp. 101–02. 38 . William Ellery Channing, “Emancipation,” in Works , 1840 , Vol. 6: 5–89, cited in Beneath the Minstrel Mask: Readings in Nineteenth-century Blackface Minstrelsy, p. 21. 3 9 . B r o w n , Domestic Individualism , pp. 16–17. 40 . Richard Yarborough, “Strategies of Black Characterization in Uncle Tom’s Cabin and the Early Afro-American Novel,” in Eric Sundquist, New Essays on Uncle Tom’s Cabin (Cambridge: Cambridge University Press, 1986 ), p. 47. Although it is almost certain that Stowe never saw a minstrel show, given the fact that minstrelsy—its themes, conventions, characters, music, etc.—perme- ated the common culture, she would have been unable to avoid its infl uence. 41 . Contentions in this paragraph are from Lott, Love and Th eft, pp. 211–19. For a history of African Americans and representations of African Americans on the American stage, the reader is referred to Heather Nathans, Slavery and Sentiment on the American Stage, 1787–1861 (Cambridge: Cambridge University Press, 2009 ) and W. T. Lhamon, Jr. Raising Cain: Blackface Performance from Jim Crow to Hip Hop (Cambridge, MA: Harvard University P r e s s , 1 9 9 8 ) . 42 . Bean, Hatch, and McNamara, Beneath the Minstrel Mask , p. XII; Robert Toll, “Show Biz in Blackface: Th e Evolution of the Minstrel Show as a Th eatrical Form,” in American Popular Entertainment: Papers and Proceedings of the Conference on the History of American Popular Entertainment (Westport, CT: Greenwood P, 1977 ), p. 21; Meer, Uncle Tom Mania , p. 27. According to Meer, the origins of minstrelsy “may lie in European folk rituals that involved blacking up, such as mummers’ plays, callithumps, and impromptu shivarees. In these practices, blackened faces signaled that the activity was metaphorical, performative, or ritualistic. Th is resonance later translated into minstrelsy’s strong association with burlesque, where something was being travestied.” (ibid., p. 10). 43 . Toll, “Show Biz in Blackface,” p. 21; Alexander Saxton, “Blackface Minstrelsy and Jacksonian Ideology,” American Quarterly 27 (March 1975 ): 14. Notes 235

44 . Saxton, “Blackface Minstrelsy,” 14. Biological or scientifi c racialism, as defi ned by George Fredrickson, postulates that the African American was by nature a “member of a distinct and permanently inferior species,” not simply a more primitive member of the same species as the white man ( Th e Black Image in the White Mind, p. 74). 45 . Lott, “Blackface and Blackness,” p. 45. 46 . Saxton, “Blackface Minstrelsy,” 27; Toll, “Show Biz in Blackface,” p. 23; Lott, “Blackface and Blackness,” p. 23. 47 . Bean, Hatch and McNamara, Beneath the Minstrel Mask , p. XVI; Stuart Hall, Deconstructing the Popular: Peoples’ History and Socialist Th eory , ed. Raphael Samuel (Routledge and Kegan Paul, 1981 ), pp. 227–40. 4 8 . L h a m o n , Raising Cain , p. 188. 49 . Saxton, “Blackface Minstrelsy” 17. 50 . Saxton, “Blackface Minstrelsy” 4. 5 1 . R i c h a r d B u t s c h , Th e Making of American Audiences: From Stage to Television,1750 –1990 (Cambridge: Cambridge University Press, 2000 ), pp. 44–52. 52 . As Heather Nathans has shown in Slavery and Sentiment on the American Stage, the minstrel “darky” was not the only model available to antebel- lum authors wishing to represent African Americans on page or stage. Nevertheless, scholars are in general agreement that, given the ubiquity and popularity of minstrelsy, it was the single most infl uential prototype. 5 3 . M e e r , Uncle Tom Mania , p. 12. 5 4 . L o t t , Love and Th eft , pp. 217–18. While there is no direct evidence that Stowe had fi rsthand experience at a minstrel show, it is reasonable to assume that since minstrelsy’s characters and themes circulated widely in the com- mon culture, Stowe would likely have “absorbed” its stereotypes Th is sup- position conforms to W. T. Lhamon’s observation that “Stowe’s shorthand creation of Topsy’s rich characteristics depended on the way blackface the- atre had already written them.” (p. 145). 5 5 . L o t t , Love and Th eft , p. 211. 56 . Bruce A. McConachie, “Out of the Kitchen and into the Marketplace: Normalizing Uncle Tom’s Cabin for the Antebellum Stage,” Journal of American Drama and Th eatre 3 (Winter 1991 ): 6. 57 . David Brion Davis, “Looking at Slavery from Broader Perspectives,” American Historical Review 105 (April 2000 ): 455; Gibbon Wakefi eld cited in Eric Williams, Capitalism and Slavery Fifty Years Later (New York: Russell & Russell, 1944 ), p. 6. 58 . McConachie, “Out of the Kitchen,” 10. 5 9 . H a r r i e t B e e c h e r S t o w e , Uncle Tom’s Cabin (New York: W. W. Norton, 1994), p. 115. 60 . McConachie, “Out of the Kitchen,” 8. 6 1 . I b i d . , 9 . 236 Notes

62 . Sundquist 4; Meer, Uncle Tom Mania, pp. 1–2; Louise Stevenson, “Virtue Displayed: Th e Tie-ins of Uncle Tom’s Cabin, ” Uncle Tom’s Cabin & American Culture Website , Interpret Mode, Interpretive Exhibits. {*} 63 . Stevenson, “Virtue Displayed.” 6 4 . I b i d . 6 5 . I b i d . 6 6 . M e e r , Uncle Tom Mania , p. 8. 6 7 . Uncle Tom’s Cabin was translated into the languages of the civilized world. Danish, Onkel Tomo’s; Dutch, Der Negerhut; Flemish, De Hut Von Onkle Tom; German, Oncle Tom’s Hütte; Hungarian, Tama’s Batya; Italian, La Campana della zie Tommazo; Polish, Chata Wuja Tomaza; Portuguese, A Cabana du Pai Tomaz; Russian, Khizhina Dyadi Toma; Swedish, Onkel Tom’s Stuga ; Spanish , La Cabana del Tio Tomas ;. Garff B. Wilson, Th ree Hundred Years of American Drama and Th eatre: From Ye Bear and Ye Cubb to Hair (Englewood Cliff s, NJ: Prentice-Hall, Inc., 1973 ), p. 200; T. Allston Brown, Th e History of the New York Stage , 3 vols. (New York: Benjamin Blom, Inc., 1964 ), I: 319; Frank Rahill, Th e World of Melodrama (University Park, PA: Pennsylvania State University Press, 1967 ), p. 250; Marie-Christine Rochmann, L’esclave Fugitif dans la Littérature Antillaise: Sur la Déclive du Morne (Paris: Editions Karthala, 2000 ), pp. 94–95; Birdoff , Th e World’s Greatest Hit, p. 180. 68 . Allardyce Nicoll, A History of the English Drama 1660–1900 . 6 vols. (Cambridge: Cambridge University Press, 1959 ), VI: 519; Meer, Uncle Tom Mania, pp. 134–40; Richard Moody, ed., Dramas From the American Th eatre, 1762–1909 (Boston: Houghton Miffl in Company, 1969), p. 355. 6 9 . N i c o l l , A History of the English Drama, V: 761–2;VI: 519; Meer, Uncle Tom Mania , p. 138. 7 0 . V i r g i n i a M a s o n V a u g h a n , Performing Blackness on English Stages, 1500–1800 (Cambridge: Cambridge University Press, 2005 ), p. 2; Dale Cockrell, Demons of Disorder: Early Blackface Minstrels and their World (Cambridge: Cambridge University Press, 1997 ), p. 13. 7 1 . M e e r , Uncle Tom Mania , p. 134. 7 2 . M e e r , Uncle Tom Mania , pp. 139–40. 73 . See Bruce A. McConachie, Melodramatic Formations: American Th eatre & Society, 1820–1870 (Iowa City: University of Iowa Press, 1992 ); Elaine Hadley, Melodramatic Tactics: Th eatricalized Dissent in the English Marketplace, 1800–1885 (Stanford, CA: Stanford University Press, 1995 ); Michael Hays and Anastasia Nikolopoulou, eds., Melodrama: Th e Cultural Emergence of a Genre (New York: St. Martin’s Press, 1996 ); Marvin Carlson, “He Never Should Bow Down to a Domineering Frown: Class Tensions and Nautical Melodrama,” in Michael Hays and Anastasia Nikolopoulou, Melodrama , pp. 147–66. 74 . For additional information on Melodrama see David Grimsted, Melodrama Unveiled: American Th eatre & Culture, 1800–1850 (Berkeley: University of California Press, 1968 ); Rosemarie K. Bank, Th eatre Culture in America, Notes 237

1825–1860 (New York: Cambridge University Press, 1997); Hadley, Melodramatic Tactics; Peter Brooks, Th e Melodramatic Imagination (Columbia: Columbia University Press, 1985 ). Information on the moral reform melodrama is taken from Frick, “Not From the Drowsy Pulpit: Th e Moral Reform Melodrama on the Nineteenth Century Stage,” Th eatre Symposium 15 (2007 ): 41–51. 75 . Henry Steele Commager, Th e Era of Reform, 1830–1860 (Princeton: D. Van Nostrand Company, 1960 ), pp. 8–9. 7 6 . J a n e P . T o m p k i n s , Sensational Designs: Th e Cultural Work of American Fiction, 1790–1860 (New York: Oxford University Press, 1985 ), p. 125. 77 . Michael Foucault, “Archeology of Knowledge,” in Jane Tompkins, Sensational Designs: Th e Cultural Work of American Fiction, 1790–1860 (New York: Oxford University Press, 1985 ), pp. xv–xvi. 7 8 . J e ff rey Mason, Melodrama and the Myth of America cited in Meer, Uncle Tom Mania , p. 109. 7 9 . Th e temperance information in this paragraph is from John W. Frick, Th eatre, Culture and Temperance Reform in Nineteenth-Century America (Cambridge: Cambridge University Press, 2003 ). 80 . Gary A. Richardson, “Plays and Playwrights,” Th e Cambridge History of American Th eatre, ed. Don B. Wilmeth and Christopher Bigsby, Vol. 1 (Cambridge: Cambridge University Press, 1998 ), I: 289–90. 8 1 . Th omas Postlewait, “From Melodrama to Realism: Th e Suspect History of American Drama,” in Melodrama: Th e Cultural Emergence of a Genre , ed. Michael Hays and Anastasia Nikolopoulou (New York: St. Martin’s Press, 1996 ), p. 54. See also Anne Humphreys, “Generic Strands and Twists: Th e Victorian Mysteries Novel,” Victorian Studies 34, Summer ( 1991 ): p. 470; Reynolds, Beneath the American Renaissance, p. 7. 8 2 . A r t h u r M . S c h l e s i n g e r , Th e American as Reformer (Cambridge, MA: Harvard University Press, 1950 ), p. xiii. 83 . Michael Hays and Anastasia Nikolopoulou, “Introduction,” in Melodrama: Th e Cultural Emergence of a Genre , ed. Michael Hays and Anastasia Nikolopoulou (New York: St. Martin’s Press, 1996 ), p. viii; Reynolds, Beneath the American Renaissance, p. 76.

2 “THERE IS NO ARGUING WITH PICTURES”: THE AIKEN/HOWARD UNCLE TOM’S CABIN

1 . Unsigned/untitled Article, The Herald, 3 September 1852 . {*} 2 . J a n e P . T o m k i n s , Sensational Designs: The Cultural Work of American Fiction, 1790–1860 (New York: Oxford University Press, 1985 ), p. 126; Eric Lott, Love and Theft (Oxford: Oxford University Press, 1993 ), p. 216; Eric J. Sundquist, ed. New Essays on Uncle Tom’s Cabin (Cambridge: Cambridge University Press, 1986 ), pp. 9–10. 238 Notes

3 . D a v i d G r i m s t e d , Melodrama Unveiled: American Theatre & Culture, 1800001E1850 (Berkeley: Universityof California Press, 1968), pp. 154– 55; John W. Frick, “The City Mysteries Play on the Antebellum Stage: Investigating the ‘Wicked City Motif,’ ” New Theatre Quarterly 20 (February 2004): 19–27. 4 . G r i m s t e d , Melodrama Unveiled, pp. 154–55. 5 . Jean Stonehouse, “We Have Come from the Mountains,” New England Journal of History 51 ( 1994 ): 60. 6 . Joseph Kaye, “Famous First Nights: ‘Uncle Tom’s Cabin.’” Theatre Magazine (August 1929 ): 26. Within 2 years or so of her making this statement, Mrs. Stowe evidently “revised” her opinion regarding the dramatization of her novel, for she herself drafted a text of her classic story designed expressly as a dramatic reading that was performed by Mrs. Mary Webb, a free mulatto. Re-titled The Christian Slave, Webb’s readings were popular in the Boston area lecture halls in 1855–56. After that, Webb performed the dra- matic reading in England, but after 1856 nothing was reported about her performances, either in the United Kingdom or in the United States. 7 . Frank S. Arnett, “Fifty Years of Uncle Tom,” Munsey’s Magazine (September 1902 ), 900. {*} 8 . O d e l l , G e o r g e C . D , Annals of the New York Stage. 15 vols. (New York: Columbia University Press ( 1927 –41): VI: 229. 9 . Unsigned/untitled Article, The Herald , September 3, 1852 . {*} 1 0 . I b i d . 1 1 . I b i d . 12 . Sarah Meer, Uncle Tom Mania: Slavery, Minstrelsy & Transatlantic Culture in the 1850s (Athens, GA: University of Georgia Press, 2005 ), p. 115; Th e Herald , September 3, 1852 . {*} 1 3 . E m m e t t C . K i n g , “ Th e Great American Drama,” Metropolitan Magazine (December 30, 1909): 326. 1 4 . I b i d . 15 . Walter Scott Howard. From Slavery to Prohibition: A History of the Drama of Uncle Tom’s Cabin in Seven Tableaux. Unpublished Typescript. Harry Ransom Collection, p. 4. 16 . “Biographical Sketch.” George C. Howard Collection, Harry Ransom Collection. 1 7 . “ Th e Pioneer Uncle Tomers (Sic!),” Th e Th eatre (February 1904), np. 1 8 . I b i d . 19 . Cordelia Howard Macdonald and George P. Howard, “Memoirs of the Original Little Eva,” Educational Th eatre Journal 8 (December 1956 ): 273. 20 . Biographical information in these two paragraphs is from “Mrs. George C. Howard Dead,” Boston Globe , October 17, 1908. 21 . Kaye, “Famous First Nights,” 65; Untitled review, New York Tribune , May 14, 1876; Untitled review, Spirit of the Times , May 27, 1867. Notes 239

22 . For a history of the Drunkard, see John W. Frick, Th eatre, Culture and Temperance Reform in Nineteenth-Century America (Cambridge: Cambridge University Press, 2003 ). Although there is no conclusive proof that Pierpont was Smith’s co-creator, strong evidence at the Harvard Divinity School sug- gests that he was. 2 3 . H o w a r d , From Slavery to Prohibition , pp. 10–12. 24 . “Biographical Sketch.” George C. Howard Collection, Harry Ransom Collection; Howard, From Slavery to Prohibition , p. 13. 25 . Biographical Sketch,” George C. Howard Collection, Harry Ransom Collection; Clippings, Birdoff Collection, Harriet Beecher Stowe Center. 2 6 . Northern Budget , March 13, 1852. {*} 2 7 . “ L i t t l e C o r d e l i a H o w a r d , ” Gleason’s Pictorial Drawing Room , July 1, 1854; Clippings, Birdoff Collection, Harriet Beecher Stowe Center. 28 . Macdonald and Howard, “Memoirs of the Original Little Eva,” 272. 29 . “What’s News on the Rialto,” New York Times , May 21, 1920); Tompkins, Sensational Designs, pp. 127–28. Tompkins, by her own admission, appropri- ated the terms from a sermon by Dwight Moody. 30 . Citations in the remainder of this paragraph are from Howard, From Slavery to Prohibition, p. 20. 31 . Henry P. Phelps, Players of a Century; A Record of the Albany Stage, Including Notices of Prominent Actors Who Have Appeared in America (New York: B. Blom, 1972 ), p. 296; “George L. Aiken,” Typescript, Harry Birdoff Collection, Harriet Beecher Stowe Center. 3 2 . R i c h a r d M o o d y , e d . , Dramas From the American Th eatre, 1762–1909 (Boston: Houghton Miffl in Company, 1969), p. 352. 3 3 . P h e l p s , Players of a Century , p. 296. 34 . Ibid.; “George L. Aiken,” Typescript, Harry Birdoff Collection, Harriet Beecher Stowe Center. 35 . “George L. Aiken,” Typescript. 36 . Aiken’s dramatization of Stowe’s Key to Uncle Tom , “a Dramatic representa- tion in four parts,” was staged briefl y in December 1853 in Troy. 37 . All information and citations in this paragraph are from Howard, From Slavery to Prohibition , pp. 1–4. 38 . Clipping, Harvard Th eatre Collection; Advertisements in Troy Northern Budget and Troy Daily Times November 15, 1852; Moody, Dramas From the American Th eatre, p. 352. 3 9 . M o o d y , Dramas From the American Th eatre, pp. 352–53. Th e 100 perfor- mances included both the original four-act version and the subsequent six-act production. 4 0 . K i n g , “ Th e Great American Drama,” 327–28; Th omas F. Gossett, Uncle Tom’s Cabin and American Culture (Dallas: Southern Methodist University Press, 1985 ), p. 279. Since both Howard and Germon had been members of the original Boston Museum Stock Company, they knew each other. 240 Notes

4 1 . I b i d . 42 . Composite of reviews in Howard, From Slavery to Prohibition , pp. 22–27. 4 3 . H o w a r d , From Slavery to Prohibition, pp. 27–28. 44 . Arnett, “Fifty Years of Uncle Tom,” 899. {*} An afterpiece, a common feature of the nineteenth-century theatre, was a short play, often a burlesque, that concluded an evening at the theatre. 45 . Information in this paragraph is from Laurence Senelick, Th e Age and Stage of George L. Fox, 1825–1877 (Iowa City: University of Iowa Press, 1999 ), pp. 4–6, 30–44, 53–58, 138–39; Laurence Senelick, “Fox, George Washington Lafayette,” Cambridge Guide to American Th eatre, ed. Don B. Wilmeth with Tice L. Miller (Cambridge: Cambridge University Press, 1996 ), p. 160; “Biographical Sketch.” Howard Collection, Harry Ransom Collection; Newspaper clippings, Birdoff Collection, Harriet Beecher Stowe Center; Joseph R. Roach, “George L. Fox” (Th e Emergence of the American Actor,) Cambridge History of the American Th eatre . eds Don B. Wilmeth and Christopher Bigsby, 3 vols. (Cambridge: Cambridge University Press, 1998 ): I: 365–67. 46 . Senelick, “Fox,” p. 160; King, “Th e Great American Drama,” p. 329. 4 7 . S e n e l i c k , “ F o x , ” p . 1 6 0 ; K i n g , “ Th e Great American Drama,” p. 329; Harry Birdoff , Th e World’s Greatest Hit: Uncle Tom’s Cabin (New York: S. F. Vanni, 1947 ), pp. 64–65. According to Senelick ( Age & Stage, p. 58), Purdy’s stage manager James Anderson was opposed to bringing the Howard/Aiken Uncle Tom to the National, but he was outvoted by Purdy. 4 8 . H o w a r d , From Slavery to Prohibition, p, 29. Th ere is no mention in Howard’s account of why the company felt it necessary to divide for the trip to New York City. 4 9 . B i r d o ff , Th e World’s Greatest Hit, pp 60–61; Clipping, Harry Birdoff Collection, Harriet Beecher Stowe Center. It is likely that Purdy’s usual patrons either did not share the moralists’ views or simply ignored them. 50 . Biographical information on Purdy in this and the following paragraphs is from Birdoff , Th e World’s Greatest Hit , pp. 62–64; “Drama in Bowery Days,” New York Times, December 13, 1896; {*} Clippings, Birdoff Collection, Harriet Beecher Stowe Center. For a photograph of Purdy, see John Frick, “Uncle Tom’s Cabin on the Antebellum Stage,” Interpretative Exhibits, Uncle Tom’s Cabin & American Culture . {*} 5 1 . M a r y C . H e n d e r s o n , Th e City and the Th eatre (Clifton, NJ: James T. White & Co., 1973 ), pp. 66–68; Unidentifi ed Clipping, Billy Rose Theatre Collection, New York Public Library at Lincoln Center; “Th e Autobiography of Joseph Jeff erson,” Typescript, Harvard Th eatre Collection. 5 2 . H o w a r d , From Slavery to Prohibition , p. 34. According to Cordelia Howard Macdonald (“Memoirs,” p. 272), shortly after Howard made this statement, Mrs. Fox resumed the role of Ophelia. 5 3 . K i n g , “ Th e Great American Drama,” p. 329. Notes 241

5 4 . A d v e r t i s e m e n t i n New York Herald , August 1853 cited in Howard, p. 32. 5 5 . G o s s e t t , Uncle Tom’s Cabin and American Culture , p. 271. 56 . Citations in this paragraph are from Moody, Dramas From the American Th eatre, pp. 353–54. 57 . Information on Purdy’s “upgraded” production is from Odell, Annals of the New York Stage, VI: 310. Inexplicably, although Odell indicates that twelve new tableaux were added, he lists only eleven. 5 8 . “ S c r i p t i n g Uncle Tom ,” Uncle Tom’s Cabin & American Culture . {*} 5 9 . S e n e l i c k , Th e Age and Stage , p. 64; Barnard Hewitt, Th eatre U. S. A: 1665–1957 (New York: McGraw-Hill Book Co., 1959 ), pp. 171–79. Intriguingly, Siple, who moved into the role of George Harris, had appeared in the ill-fated Taylor Uncle Tom’s Cabin at the National one year earlier. 6 0 . G o s s e t t , Uncle Tom’s Cabin and American Culture , p. 279. 6 1 . H o w a r d , From Slavery to Prohibition, p. 33. 6 2 . O d e l l , Annals of the New York Stage , VI: 309. 63 . “H.,” “Uncle Tom Among the Bowery Boys,” New York Times , August 6, 1853; {*} Senelick, Th e Age and Stage , pp. 65–67; Birdoff , Th e World’s Greatest Hit , pp. 67–69. 64 . “H.,” “Uncle Tom Among the Bowery Boys.” {*} 65 . William Lloyd Garrison, Th e Liberator, September 8, 1853; {*} Odell, Annals of the New York Stage , VI: 311; Th e Herald September 3, 1852; {*} Spirit of the Times , August 6, 1853. {*} 66 . Bruce McConachie, “Out of the Kitchen and into the Marketplace: Normalizing Uncle Tom’s Cabin for the Antebellum Stage,” Journal of American Drama and Th eatre 1 (Winter 1991): 24. 6 7 . M e e r , Uncle Tom Mania , p. 111. 6 8 . B i r d o ff , Th e World’s Greatest Hit , p. 69. 6 9 . B i r d o ff , Th e World’s Greatest Hit , pp. 69–70. 7 0 . R i c h a r d B u t s c h , Th e Making of American Audiences: From Stage to Television,1750 –1990 (Cambridge: Cambridge University Press, 2000 ). p. 375. 7 1 . M e e r , Uncle Tom Mania , pp. 107, 110. 7 2 . G o s s e t t , Uncle Tom’s Cabin and American Culture, p. 271; Sacvan Bercovitch, Th e American Jeremaid cited in Jane P. Tompkins, Sensational Designs , p. 140. 7 3 . Spirit of the Times , December 17, 1853. {*} 7 4 . J o h n F r i c k , “ F r o m Uncle Tom’s Cabin to A Chorus Line : Th e Long Run on the American Stage,” Southern Th eater ( S p r i n g 1 9 8 9 ) : 1 0 – 1 6 . Th e Aiken/ Howard Uncle Tom’s Cabin held the long run record until it was broken by former Uncle Tom’s Cabin cast member G. L. Fox in his masterwork, Humpty Dumpty which ran for more than 1,200 performances. 7 5 . G o s s e t t , Uncle Tom’s Cabin and American Culture , p. 266. 7 6 . H o w a r d , From Slavery to Prohibition, p. 52. 242 Notes

77 . Citations in this paragraph are from David Grimsted, “Uncle Tom from Page to Stage: Limitations of Nineteenth-Century Drama,” Quarterly Journal of Speech 56 (October 1970): 236. 7 8 . G o s s e t t , Uncle Tom’s Cabin and American Culture , p. 264. 7 9 . I b i d . 8 0 . L o t t , Love and Th eft , p. 214. 8 1 . S e n e l i c k , Age and Stage , p. 64. 82 . Sergei Balukhatyi cited in Daniel C. Gerould, ed., American Melodrama (New York: PAJ Publications, 1983 ), p. 14. 83 . Aiken’s Uncle Tom’s Cabin in Moody, Dramas, p. 396. Th e Aiken Uncle Tom’s Cabin is also available in Staging the Nation: Plays from the American Th eater 1787–1909 , ed. Don B. Wilmeth (Boston: Bedford Books, 1989); Th e Best Plays of the American Th eatre from the Beginning to 1916, ed. John Gassner (New York: Crown Publishers, Inc., 1967); and, Th e Longman Anthology of American Drama , ed. Lee A. Jacobus (New York: Longman, 1982). 8 4 . G o s s e t t , Uncle Tom’s Cabin and American Culture , p. 268. 8 5 . G e r o u l d , American Melodrama , p. 15. 86 . Citations in this paragraph are from Grimsted, “Uncle Tom,” p. 238 and Gossett, Uncle Tom’s Cabin and American Culture, p. 262. Later versions of Aiken’s drama added Senator Bird and his wife (See Odell, Annals of the New York Stage , VI: 310). 8 7 . G r i m s t e d , “ U n c l e T o m , ” p . 2 3 8 ; G o s s e t t , Uncle Tom’s Cabin and American Culture , p. 262. 8 8 . J e ff rey Mason, Melodrama and the Myth of America (Bloomington, IN: Indiana University Press, 1993 ), p. 107. 89 . Grimsted, “Uncle Tom,” p. 237. 9 0 . I b i d . 9 1 . G o s s e t t , Uncle Tom’s Cabin and American Culture, p. 265; While Topsy, to some, may represent unfulfi lled potential, to Allon White and Peter Stallybrass, she exemplifi es what they term the “low other,” a fi gure “who is despised and denied at the level of political organization and social being whilst it is instrumentally constitutive of the shared imaginary repertoires of the dominant culture.” (White and Stallybrass, cited in Elizabeth Young, Disarming the Nation , p. 33). Young states further that “Topsy incarnates the black body as comic grotesque in behavior as well as appearance (32).” Despite Mrs. Howard’s portrayal, which attempted to show Topsy’s innate humanity and to restore some of her dignity, the character in Aiken’s text nevertheless remains the low other and remains an easy fi gure to ridicule. 9 2 . C y n t h i a G r i ffi n Wolff , “Masculinity in Uncle Tom’s Cabin ,” American Quarterly 47 ( 1995 ): 610. 9 3 . I b i d . , p . 5 9 9 . Notes 243

94 . Ma r c i a P e n t z , “ S t a g e M a n a g i n g S t o w e : A i k e n ’ s R e m a s c u l i n i z a t i o n o f Uncle Tom’s Cabin.” Unpublished paper presented at Th eatre Symposium, 2001 , p. 1. 95 . Information in this paragraph is from Pentz, pp. 1–8. 96 . McConachie, “Out of the Kitchen,” 10–14. Th e Man of Principle is McConachie’s original conceptualization. 9 7 . R o s m a r i e K . B a n k , Th eatre Culture in America, 1825–1860 (Cambridge: Cambridge University Press, 1997 ), p. 150. 9 8 . I b i d . 99 . McConachie, “Out of the Kitchen,” p. 11. 100 . McConachie, “Out of the Kitchen,” p. 7. 1 0 1 . M e e r , Uncle Tom Mania , p. 105. 102 . Descriptions in this paragraph are from John Frick, “Th e City Mysteries Play on the Antebellum Stage : Investigating the ‘Wicked City Motif,’ ” New Th eatre Quarterly 20 (February 2004): 20. 103 . For a complete account of the antebellum violence in lower Manhattan see Herbert Asbury, Th e Gangs of New York (New York: Paragon House, 1990 ). 1 0 4 . D a v i d G r i m s t e d , American Mobbing, 1828–1861 (Oxford: Oxford Universit y Press, 1998 ), pp. VIII–XI. 1 0 5 . P a u l A . G i l j e , Th e Road to Mobocracy: Popular Disorder in New York City, 1763–1834 (Chapel Hill, NC: University of North Carolina Press, 1987 ), p. 150. 106 . Herbert Aptheker, American Negro Slave Revolts (New York: International Publishers, 1993), pp. 18–52. 1 0 7 . M e e r , Uncle Tom Mania , pp. 140, 227; Aptheker, pp. 19–20, 26–29. 1 0 8 . G r i m s t e d , American Mobbing , pp. 6, 17; Meer, Uncle Tom Mania , pp. 139–40. 109 . Information in this paragraph is from Grimsted, American Mobbing , p. 20. 1 1 0 . G r i m s t e d , American Mobbing, p. 16. 1 1 1 . L o t t , Love and Th eft , p. 212. 1 1 2 . H e w i t t , Th eatre U. S. A. , p. 177. 113 . Information in this paragraph is from Walter Howard, From Slavery to Prohibition, p. 47. 1 1 4 . I b i d . 1 1 5 . K i n g , “ Th e Great American Drama,” 334. 116 . Clipping, “Uncle Tom’s Cabin in the South,” Harry Birdoff Collection, Harriet Beecher Stowe Center; Gossett, Uncle Tom’s Cabin and American Culture , p. 374. 1 1 7 . G o s s e t t , Uncle Tom’s Cabin and American Culture , p. 373. 1 1 8 . K i n g , “ Th e Great American Drama,” 334. 1 1 9 . G o s s e t t , Uncle Tom’s Cabin and American Culture , p. 375. 1 2 0 . K i n g , “ Th e Great American Drama,” 334. 121 . Eric Lott, Love and Th eft , p. 212. 244 Notes

122 . Nancy Armstrong and Leonard Tennenhouse, eds, Th e Violence of Representation: Literature and the History of Violence (London: Routledge, 1989 ), pp. 5, 9; Teresa de Lauretis, “Th e Violence of Rhetoric: Considerations on Representation and Gender,” in Th e Violence of Representation: Literature and the History of Violence, Nancy Armstrong and Leonard Tennenhouse, eds., Th e Violence of Representation: Literature and the History of Violence (London: Routledge, 1989 ), pp. 239–58. 123 . de Lauretis in Armstrong and Tennenhouse, Th e Violence of Representation , pp. 3, 240. 1 2 4 . I b i d . 125 . David Brion Davis, “Violence in American Literature,” Th e Annals of the American Academy of Political and Social Science 364 (March 1966): 28–34. 1 2 6 . I b i d . 127 . Information in this paragraph is from Howard, From Slavery to Prohibition , pp. 47–48. 128 . Linda Williams, Playing the Race Card : Melodramas of Black and White from Uncle Tom to O.J. Simpson. (Princeton: Princeton University Press, 2001), p. 15; John W. Frick, “From Uncle Tom’s Cabin to A Chorus Line ,” 10–16.

3 “A PLAY TO WHICH NO APOLOGIST FOR SLAVERY COULD OBJECT”: THE CONWAY/ KIMBALL/BARNUM UNCLE TOM’S CABIN

1 . Brooks McNamara, “‘A Congress of Wonders’: The Rise and Fall of the Dime Museum,” Emerson Society Quarterly 20 (3rd Quarter 1974 ): 218. 2 . B l u f o r d A d a m s , E Pluribus Barnum: The Great Showman & U. S. Popular Culture (Minneapolis: University of Minnesota Press, 1997 ), p. 2; Neil Harris, Humbug: The Art of P. T. Barnum (Chicago: University of Chicago Press, 1973 ), p. 21. 3 . A n d r e a S t u l m a n D e n n e t t , Weird and Wonderful: The Dime Museum in America (New York: New York University Press, 1997 ), p. 13. 4 . D a v i d N a s a w , Going Out: The Rise and Fall of Public Amusement (New York: Harper Collins, 1993), p. 15. 5 . Bruce McConachie, “Museum Theatre and the Problem of Respectability for Mid-century Urban Americans.” The American Stage . Ed. Ron Engle and Tice L. Miller (Cambridge: Cambridge University Press, 1993 ), p. 69. 6 . Although Kimball no longer took part in the day-to-day management of the Boston Museum after 1860, he maintained an interest in the establishment until shortly before his death in 1885. 7 . W i l l i a m W . C l a p p , A Record of the Boston Stage (New York: Greenwood P, 1969 ), p. 469; Claire McGlinchee, The First Decade of the Boston Museum (Boston: Bruce Humphries, Inc., 1940 ), p 29. Notes 245

8 . K a t e R y a n , Old Boston Museum Days. (Boston: Little, Brown and Company, 1 9 1 5 ) , p . 2 . 9 . John Bouvé Clapp, “The Passing of an Historic Playhouse,” Boston Evening Transcript , April 25, 1903. 10 . Ibid. As authoritative as Clapp’s account may have been at the time, later scholars maintain that the seating was closer to 1,200 than to 400 or 500. 1 1 . U n i d e n t i fi ed clipping, Harvard Th eatre Collection; William W. Clapp, A Record , p. 470. 1 2 . M c G l i n c h e e , Th e First Decade of the Boston Museum, p. 33. 13 . Ryan, Old Boston Museum Days, p. 3. 14 . All information for this paragraph is taken from John Frick, Th eatre, Culture and Temperance Reform in Nineteenth-Century America (Cambridge: Cambridge University Press, 2003 ) and John Frick, “Not From the Drowsy Pulpit: Th e Moral Reform Melodrama on the Nineteenth Century Stage,” Th eatre Symposium 15 (2007 ): 41–51. 15 . McConachie, “Museum Th eatre,” p. 74. 1 6 . H . A . C l a p p , “ Th e Passing” (April 25, 1903 ); “Old Days at the Boston Museum,” unidentifi ed clipping, Harvard Th eatre Collection. 1 7 . H o w a r d M a l c o l m T i c h n o r , “ Th e Passing of the Boston Museum,” Th e New England Magazine 28 (June 1903 ): 384. 1 8 . I b i d . 1 9 . T i c h n o r , “ Th e Passing of the Boston Museum,” 385. 20 . McConachie, “Museum Th eatre,” p. 74. 2 1 . D e n n e t t , Weird and Wonderful , pp. 89–90. Th e photo (Image 3.2) is of the auditorium before the 1880 renovation which lowered the level of the stage and orchestra so that an additional seating level could be added. When the theatre was reconfi gured it consisted of an orchestra, a parquette circle, and fi rst and second balconies. 2 2 . Th e biographical information in this and the ensuing paragraphs is from “Moses Kimball Passes Away at his Home in Brookline. A Sketch of his Career,” Newspaper Clipping, Harvard Th eatre Collection; “Moses Kimball, Esq.,” Ballou’s Pictorial Drawing-Room Companion , nd, clipping, Harvard Th eatre Collection. Th ere is no explanation in his biographical information of why Kimball would have left merchandising for publishing, considering that he was evidently a successful salesman. 2 3 . I b i d . 24 . Obituary, “Hon. Moses Kimball,” Newspaper Clipping, Harvard Th eatre Collection. 2 5 . I b i d . 2 6 . I b i d . 27 . Dennett, Weird and Wonderful, p. 93. 2 8 . I b i d . 246 Notes

29 . Newspaper Clipping, Harvard Th eatre Collection; Biography, William Henry Sedley Smith File, Harvard Th eatre Collection. 30 . According to one eyewitness account, during one performance of Richard III , Booth was so frustrated by Smith’s sword skills, that he actually attacked him and the fi ght continued off stage and onto Boston’s Tremont Street. Clipping, “William Sedley Smith,” Harvard Th eatre Collection. 31 . Compilation of W. H. Smith Obituaries, Harvard Th eatre Collection. 3 2 . T i c h n o r , “ Th e Passing of the Boston Museum,” 389–90. 33 . Biography, William Henry Sedley Smith File, Harvard Th eatre Collection. 3 4 . Th e preceding paragraph was excerpted from Th eatre, Culture and Temperance Reform in Nineteenth-Century America. 3 5 . I b i d . 36 . Bruce A. McConachie, “A Dramatization of H. J. Conway’s Uncle Tom’s Cabin: A Previously Unpublished Letter.” Th eatre Journal 34 (May 1982 ): 149–54; Edward Kahn, “Creator of Compromise: William Sedley Smith and the Boston Museum’s Uncle Tom’s Cabin ,” Th eatre Survey 41: 71–82. 37 . Kahn, “Creator of Compromise,” 71–82. 3 8 . D a v i d G r i m s t e d , Melodrama Unveiled: American Th eatre & Culture, 1800–1850 (Berkeley: University of California Press, 1968 ), pp. 146–47. 3 9 . I b i d . 40 . March 2, 1852, MS, uncatalogued collection, Boston Athenaeum cited in McConachie, “Unpublished Letter”: 152 fn. 41 . Letter, H. J. Conway to J. B. Wright, February 3, 1852, Harvard Th eatre Collection. Th ere is no evidence of these plays ever having been produced. 4 2 . I b i d . 43 . Biographical materials, H. J. Conway, Harvard Th eatre Collection. 4 4 . G r i m s t e d , Melodrama Unveiled , p. 147. 4 5 . E m m e t t C . K i n g , “ Th e Great American Drama,” Metropolitan Magazine 30 (December 1909): 328. 4 6 . I b i d . 47 . Playbill for the Boston Museum Uncle Tom’s Cabin, December 13, 1852, Uncle Tom’s Cabin & American Culture Website. {*} 4 8 . Uncle Tom’s Journal (Boston). December 25, 1852, Vol. I, No. 1, Unpublished Typescript, Harry Birdoff Collection, Harriet Beecher Stowe Center, np; Unsigned Review, “Boston Museum – ‘Uncle Tom’s Cabin.’ ” Frederick Douglass’ Paper , December 3, 1852. {*} 4 9 . Uncle Tom’s Journal ; “An Old Critique,” Th e Boston Mirror , August 12, 1899. {*} 50 . Uncle Tom’s Journal. {*} 5 1 . I b i d . 5 2 . I b i d . Th e playtext published on the Uncle Tom’s Cabin & American Culture website says nothing of a panoramic view of a steamer on the river, but given nineteenth-century staging conventions, it is quite possible that the scene Notes 247

was a silent tableau inserted into the production, but never recorded in the prompt script. 5 3 . I b i d . 54 . Parker Pillsbury, “‘Uncle Tom’s Cabin’ at a Boston Th eatre.” Th e Liberator 24 (December 1852 ). {*} 55 . Frederick Douglass’ Paper, December 3, 1852. {*} 5 6 . U n s i g n e d R e v i e w , Th e Commonwealth, November 1852 ; Th e Liberator, January 7, 1853; Unsigned review of Boston Museum Uncle Tom’s Cabin . Gleason’s Pictorial Drawing-Room Companion, July 2, 1853. {*} 57 . David Reynolds, Mightier Th an the Sword: Uncle Tom’s Cabin and the Battle for America (New York: W. W. Norton & Company, 2011 ), pp. 143–45. 5 8 . H . J . C o n w a y , Uncle Tom’s Cabin; or, Life Among the Lowly. Typescript. Uncle Tom’s Cabin & American Culture website., Act I, Sc. 4, pp. 19–20. {*} 59 . Sarah Meer, “Uncle Tom Mania: Slavery, Minstrelsy & Transatlantic Culture in the 1850s” (Athens [GA:] University of Georgia Press, 2005 ), p. 123. A breakdown, as defi ned by Dale Cockrell (Demons of Disorder: Early Blackface Minstrels and their World) refers to “any dance in Negro style, usually associated with minstrelsy; “not a step at all but a generically fast, energetic dance” performed by an African-American. (pp. 87–88). 60 . Meer, “Uncle Tom Mania,” p. 119. 61 . Bruce McConachie, “Out of the Kitchen and into the Marketplace: Normalizing Uncle Tom’s Cabin for the Antebellum Stage,” Journal of American Drama and Th eatre 3 (Winter 1991 ): 10–11. 62 . McConachie, “Unpublished Letter,” p. 150. 63 . Ibid., pp. 150–51; Kahn, “Creator of Compromise,” p. 74. 64 . Kahn, “Creator of Compromise,” p. 74. 6 5 . I b i d . 6 6 . P a t r i c i a H i l l , “ Uncle Tom’s Cabin as a Religious Text.” Paper presented at the Uncle Tom’s Cabin in the Web of Culture Conference, Harriet Beecher Stowe Center, June 2007 , and article on the Uncle Tom’s Cabin & American Culture website, p. 8. {*} 67 . See H. J. Conway, Uncle Tom’s Cabin; or, Life Among the Lowly. Typescript. Uncle Tom’s Cabin & American Culture website. {*} 68 . McConachie, “Out of the Kitchen,” p. 15. Although Conway’s and Aiken’s treatments of Legree are similar, there is no extant evidence that either man knew of the other’s work before it appeared on stage. 69 . Unlike Aiken, who has Marks shoot Legree, Conway has Legree perish in a uniquely gothic manner. After having Tom beaten, Legree believes that he sees his mother’s ghost in an upper window of his mansion, suff ers a stroke, and collapses, dead. 70 . Programme of Scenery and Incident, “Uncle Tom’s Cabin,” Boston Museum, nd, Harvard Th eatre Collection. 7 1 . A d a m s , E Pluribus Barnum , pp. 132–33. 248 Notes

7 2 . E r i c L o t t , Love and Th eft (Oxford: Oxford University Press, 1993 ), p. 214. 73 . Information in this paragraph is from Gerald Bordman, Th e Concise Oxford Companion to the American Th eatre (Oxford: Oxford University Press, 1987), p. 431; Obituary, William Warren, Harvard Th eatre Collection; Clapp, “Passing of an Historic Playhouse,” p. VI. 74 . Ryan, Old Boston Museum Days, p. 26. 7 5 . I b i d . , p . 2 8 . 7 6 . I b i d . 7 7 . I b i d . , p . 4 2 . 7 8 . K i n g , “ Th e Great American Drama,” p. 328. 79 . In f o r m a t i o n i n t h i s p a r a g r a p h i s f r o m D e n n e t t , Weird and Wonderful , pp. 18–26. 80 . Ibid. In 1865, Barnum’s original museum burned to the ground. He imme- diately rebuilt his museum, but his second enterprise likewise burned in 1868. Barnum never owned another museum. 8 1 . D e n n e t t , Weird and Wonderful , p. 25; Adams, pp, 78–79. 8 2 . A d a m s , E Pluribus Barnum , p. 78–79. 8 3 . D e n n e t t , Weird and Wonderful , p. 34. 8 4 . Tableaux Vivants , also called Living Statuary, involved the display of scantily clad women in supposedly “artistic” classical poses. As long as the women did not move, they were regarded as art, but if they moved, the statuary became pornographic and the models could be arrested. See Jack McCullough, Living Pictures on the New York Stage (Ann Arbor: University of Michigan R e s e a r c h P r e s s , 1 9 8 3 ) . 8 5 . D e n n e t t , Weird and Wonderful , pp. 36–37. 86 . “Barnum’s American Museum.” Web page, http://chnm.gmu.edu/lostmuseum /1m/163/ 8 7 . F r i c k , Th eatre, Culture and Temperance, p. 21. 8 8 . H o w a r d B e c k e r , Outsiders: Studies in the Sociology of Deviance (New York: Free Press, 1966 ), p. 148. Th is phenomenon is sometimes called “benevolent entrepreneurialism.” 89 . Lewis A. Erenberg, Steppin’ Out: New York Nightlife and the Transformation of American Culture, 1890–1930 (Westport [CT]: Greenwood Press, 1981 ), pp. 68–69. 9 0 . A . H . S a x o n , P.T. Barnum: Th e Legend and the Man (New York: Columbia University Press, 1989 ), pp. 82–83; Letter from P. T. Barnum to Th omas Wentworth Higginson, cited in Saxon, P.T. Barnum , p. 83. 9 1 . S a x o n , P.T. Barnum, pp. 83–84. Th e true nature of Barnum’s racial atti- tudes was further confused by his sponsorship of, not only Uncle Tom’s Cabin, but a dramatization of Stowe’s “scathingly anti-slavery” novel, Dred—presentations that even if they failed to demonstrate Barnum’s full support of abolitionism, at least indicated that he thought the topic of slav- ery warranted exposure and public debate. Notes 249

9 2 . S a x o n , P.T. Barnum , p. 83. 9 3 . A d a m s , E Pluribus Barnum , pp. 129–30. 9 4 . I b i d . , p . 1 3 1 . 9 5 . “ A W o r d A b o u t M u s e u m s , Th e Nation 27 July 1865.” Web page, http:// chnm.gmu.edu/lostmuseum/1m/26/ 9 6 . I b i d . 9 7 . “ M r . B a r n u m o n M u s e u m s , Th e Nation 10 August 1865.” Web page, http:// chnm.gmu.edu/lostmuseum/1m/27/ 9 8 . “ M r . B a r n u m o n M u s e u m s , Th e Nation 27 July 1865.” Web page, http:// chnm.gmu.edu/lostmuseum/1m/26/ 9 9 . “ B a r n u m ’ s A m e r i c a n M u s e u m , ” c l i p p i n g , B i r d o ff Collection, Harriet Beecher Stowe Center. 100 . A. M. Drummond and Richard Moody, “Th e Hit of the Century: Uncle Tom’s Cabin: 1852-1952 ,” Educational Th eatre Journal 4 (December 1952): 318; Harry Birdoff , Th e World’s Greatest Hit: Uncle Tom’s Cabin (New York: S. F. Vanni, 1947 ), p. 87. 1 0 1 . G e o r g e C . D . O d e l l , Annals of the New York Stage . 15 vols (New York: Columbia University Press, 1927 –41): VI: 317. 102 . Kahn, “Creator of Compromise,” p. 72. 1 0 3 . I b i d . 104 . Letter to the Editor of the New York Tribune , November 17, 1853. {*} 1 0 5 . U n s i g n e d r e v i e w , New York Daily Tribune , November 15, 1853 ; {*} McConachie, “Unpublished Letter,” p. 153. 106 . David Grimsted, “Uncle Tom from Page to Stage: Limitations of Nineteenth-Century Drama,” Quarterly Journal of Speech 56 (October 1 9 7 0 ) : 2 3 9 . 107 . Unsigned Review, New York Tribune , November 15, 1853 . {*} 1 0 8 . I b i d . 109 . It is important here to remember that in precivil war times, “heated debate” was an euphemism for a fi st fight. 110 . Meer, “Uncle Tom Mania,” p. 6. 111 . Carroll Smith-Rosenberg, “Writing History: Language, Class and Gender.” In John Hartley and Roberta E. Pearson. American Cultural Studies: A Reader (Oxford: Oxford University Press, 2000), p. 201.

4 “O’ IT WAS A SIGHT WORTH SEEING”: UNCLE TOM HITS THE ROAD

1 . “From the Theatre,” The Sunday Dispatch , September 11, 1853; {*} “From the Theatres,” The Sunday Dispatch , September 25, 1853. {*} 2 . “The Franklin Theatre,” Clipping, Harry Birdoff Collection, Harriet Beecher Stowe Center. 250 Notes

3 . G e o r g e C . D , Annals of the New York Stage. 15 vols. (New York: Columbia University Press ( 1927 –41): VI: 277, 328; “From Things Theatrical,” The Spirit of the Times , September 3, 1853. {*} 4 . O d e l l , Annals , VI: 306, 327, 331. 5 . Information in this paragraph is from Eric Lott, Love and Theft: Blackface Minstrelsy and the American Working Class. (Oxford: Oxford University Press, 1993), pp. 56–59, 124–27; Joseph Roach, “George L. Fox: The Emergence of the American Actor,” Cambridge History of the American Theatre , ed., Don B. Wilmeth and Christopher Bigsby, 3 vols. (Cambridge: Cambridge University Press, 1998 ): I: 359–60. 6 . Unsigned Review, “From Things Theatrical,” The Spirit of the Times , January 21, 1854. {*} 7 . Unsigned Review, “Uncle Tom at the Bowery,” New York Tribune, January 17, 1854. {*} 8 . I b i d . 9 . O d e l l , V I : 3 0 6 . 1 0 . “ F r o m Th ings Th eatrical,” Th e Spirit of the Times , May 27, 1854. {*} 1 1 . Th omas F. Gossett, Uncle Tom’s Cabin and American Culture (Dallas: Southern Methodist University Press, 1985 ), p. 276. 1 2 . “ F r o m Th ings Th eatrical,” Th e Spirit of the Times , June 3, 1854; {*} “From Th ings Th eatrical,” Th e Spirit of the Times , June 10, 1854. {*} 1 3 . O d e l l , V I : 3 2 7 – 4 1 9 , 5 5 7 . 1 4 . I b i d . , V I : 2 3 6 , 2 3 7 – 4 2 2 . 1 5 . I b i d . , V I I : 6 5 6 . 16 . Ibid., VII: 656; VIII: 41. 1 7 . I b i d . , V o l s . V I I – X . 18 . Ibid., Vols. IX–X; T. Allston Brown, Th e History of the American Stage. (1903, reprint New York: Benjamin Blom, 1969 ), Vols. I–III. 1 9 . I b i d . 20 . To New Yorkers, in the 1870s the mere mention of the Th eatre Comique was suffi cient to conjure up images of the ethnic dramas presented there. 21 . Odell VIII: 622–23; E. J. Kahn, Th e Merry Partners: Th e Age and Stage of Harriga n & Hart . (New York: Random House, 1955 ), p. 148. 22 . Typescript, the Harrigan and Hart Uncle Tom’s Cabin , Harry Birdoff Collection, Harriet Beecher Stowe Center. 23 . Clipping, Harry Ransom Center. Yeamans “intersected” with another Uncle Tom’s Cabin veteran when she appeared in Humpty Dumpy with G. L. Fox at Olympic in 1875. 2 4 . E d m o n d M . G a g e y , Th e San Francisco Stage: A History . (Westport, CT: Greenwood Press, 1950 ), p. 51. 2 5 . D a v i s D e m p s e y , w i t h R a y m o n d P . B a l d w i n . Th e Triumphs and Trials of Lotta Crabtree. (New York: William Morrow & Company, Inc, 1968 ), pp. 152, 155. Notes 251

2 6 . D e m p s e y , Th e Triumphs and Trials of Lotta Crabtree , pp. 159, 160. 2 7 . D e m p s e y , Th e Triumphs and Trials of Lotta Crabtree , pp. 166, 170. 2 8 . W i l l i a m W i n t e r , Th e Life of David Belasco . 2 vols. (New York: Moff at, Yard and Company, 1918): I: 49, 257–58. Birdoff (Th e World’s Greatest Hit) claims that while at Shiel’s, Belasco also assumed the roles of Marks, Legree, Topsy, and George Harris during his 6 weeks at the opera house. No other source, however, lists a role other than Sambo. Intriguingly, the lessee of Baldwin before Rial was Gustave Frohman, who had the distinction of being the fi rst manager to employ an African American to play the part of Tom. (See pp. 121–23 of this chapter). 2 9 . E m m e t t C . K i n g , . “ Th e Great American Drama,” Metropolitan Magazine (December 30, 1909): 334. 30 . “Anti-Tom Novels,” Uncle Tom’s Cabin & American Culture Website. {*} 3 1 . G o s s e t t , Uncle Tom’s Cabin and American Culture , p. 212. In fairness to Hale, her novel is diffi cult to categorize as strictly anti-Tom since it comes to a con- clusion similar to Stowe’s; but it is more sympathetic to slave holders and Hale avoids depicting beatings, slave auctions, or other forms of brutality. 32 . “Anti-Tom Novels,” {*} It should be remembered here that Stowe herself introduced the comparison between British wage slavery and American racial slavery. 33 . “(Un)Reconstructing Uncle Tom’s Cabin,” Uncle Tom’s Cabin & American Culture Website. {*} 3 4 . G o s s e t t , Uncle Tom’s Cabin and American Culture , p. 231. 3 5 . I b i d . , p p . 2 1 4 , 2 1 6 . 3 6 . I b i d . , p . 2 2 9 . 3 7 . I b i d . , p . 2 8 1 . 38 . Jo s e p h P . R o p p o l o , “ U n c l e T o m i n N e w O r l e a n s : Th ree Lost Plays,” New England Quarterly 27 (1954 ): 213fn; New Orleans Daily Picayune February 15, 22, 28 and March 4, 1883. {*} 39 . Roppolo, “Uncle Tom in New Orleans,” 217. 4 0 . I b i d . 41 . All three of the texts described here have been lost. A fourth drama, Happy Uncle Tom, which was produced by Sanford’s Burlesque Opera Troupe at the Academy of Music in November 1863 has likewise been lost. 4 2 . D a v i d C a r l y o n , Dan Rice: Th e Most Famous Man You’ve Never Heard of . (New York: Public Aff airs, 2001 ), pp. 168–69; Roppolo, “Uncle Tom in New Orleans,” p. 219. 4 3 . C a r l y o n , Dan Rice, 169; Ropollo, “Uncle Tom in New Orleans,” 219–20: William Henry “Juba” Lane (Master Juba) was an African American dancer who became popular in America before the Civil War, but left the United States for England in 1848 to make his living on the British stage. 44 . Research Notes, David Carlyon collection; Spirit of the Times (February 25, 1854) cited in Roppolo: “Uncle Tom in New Orleans,” 219. 252 Notes

45 . Roppolo: “Uncle Tom in New Orleans,” 220–21. 4 6 . U n i d e n t i fi ed critic for Th e Crescent (n.d.) cited in Carlyon, Dan Rice , p. 173. 4 7 . C a r l y o n , Dan Rice , p. 173; Roppolo: “Uncle Tom in New Orleans,” 221. 48 . New Orleans Daily Picayune, March 7, 1854 cited in Roppolo: “Uncle Tom in New Orleans,” 221. 4 9 . C a r l y o n , Dan Rice , p. 173; Roppolo: “Uncle Tom in New Orleans,” 221; Gossett, Uncle Tom’s Cabin and American Culture , p. 281. 5 0 . C a r l y o n , Dan Rice , p. 173. 51 . Roppolo, “Uncle Tom in New Orleans,” 222–23. 5 2 . I b i d . , 2 2 3 . 5 3 . I b i d . 54 . Ibid., 223–24; Odell, VII: 232. 5 5 . “ J i m C r o w , ” Encyclopedia of African-American Culture and History. ed. Jack Salzman, David Lionel Smith, and Cornel West, 5 Vols. (New York: Simon & Schuster, 1996): III: 1444–47. 56 . Michele Wallace, “Uncle Tom’s Cabin: Before and After the Jim Crow Era,” Th e Drama Review 44 (Spring 2000 ): 147. 5 7 . G o s s e t t , Uncle Tom’s Cabin and American Culture , p. 377; Charles H. Foster, Th e Rungless Ladder: Harriet and New England Puritanism cited in Gossett, Uncle Tom’s Cabin and American Culture , p. 377; Linda Williams, Playing the Race Card : Melodramas of Black and White from Uncle Tom to O.J. Simpson. (Princeton: Princeton University Press, 2001 ), p. 86. 5 8 . W i l l i a m s , Playing the Race Card , p. 86. 5 9 . B i r d o ff , Th e World’s Greatest Hit, pp. 225–26; Gossett, Uncle Tom’s Cabin and American Culture, p. 375; Errol G. Hill Errol and James V. Hatch, A History of African American Th eatre (Cambridge: Cambridge University Press, 2003 ), p. 56. 6 0 . R o b e r t T o l l , Blacking Up: Th e Minstrel Show in Nineteenth-century America (London: Oxford University Press, 1974 ), pp. 217–18. Hill and Hatch, A History of African American Th eatre , p. 56. Following Lucas’ debut as Uncle Tom, other African American actors (W. Homer, Dick Hunter, O. B. Rivers and Harry West) played the role in the 1880s and in 1897 Lew Johnson mounted an all black production. (Joseph P. Eckhardt, Th e King of the Movies: Film Pioneer Siegmund Lubin (Madison, NJ: Fairleigh-Dickenson University Press, 1998 ), p. 274. 6 1 . C l i p p i n g f r o m Black Manhattan by J. W. Johson, np. Harry Birdoff Collection, Harriet Beecher Stowe Center. A subsequent attempt to play Tom with Nixon and North’s revival was also a failure and the only money Lucas received was his train fare out of Boston. 6 2 . C l i p p i n g f r o m Black Manhattan , np. 6 3 . N a d i n e G e o r g e - G r a v e s , Th e Royalty of Negro Vaudeville: Th e Whitman Sisters and the Negotiation of Race, Gender and Class in African-American Notes 253

Th eater, 1900–40 (New York: St. Martin’s Press, 2000 ), p. 15. According to George-Graves, Out of Bondage was repeated in 1890. 64 . Hill and Hatch, A History of African American Th eatre , p. 73. 65 . Ibid. While the prologue for the Hyer Sisters Uncle Tom’s Cabin was written by Stowe, it was not written for the theatre. Rather, it was excerpted from her general writings. 6 6 . U n i d e n t i fi ed clipping from the West Tennessee Democrat , Harry Birdoff Collection, Harriet Beecher Stowe Center. 6 7 . U n i d e n t i fi ed clipping, Harry Birdoff Collection, Harriet Beecher Stowe Center. 68 . While bloodhounds may have been the fi rst dogs to chase Eliza across a stage, they quickly became regarded as too gentle and docile to threaten Eliza and frighten an audience. Th us, they were replaced with dogs that were perceived as more fi erce: Mastiff s, Great Danes, and Wolfhounds. 6 9 . B i r d o ff , Th e World’s Greatest Hit, p. 297. Frank Rahill in Th e World of Melodrama. (University Park, PA: Pennsylvania State University Park, 1967 ), p. 252 citing Wesley Winans Stout, maintains that dogs made their stage debut in New York in 1879, but there is no mention of them in Odell. 7 0 . B i r d o ff , Th e World’s Greatest Hit, p. 297; Rahill, Th e World of Melodrama , p. 252. 71 . Hagenbeck, “Animals on the Stage,” Th e Washington Post, December 16, 1894 . {*} 7 2 . A . M . D r u m m o n d a n d R i c h a r d M o o d y , “ Th e Hit of the Century: Uncle Tom’s Cabin: 1852–1952,” Educational Th eatre Journal 4 (December 1952): 320; Rahill, Th e World of Melodrama , p. 252; Odell, XV: 75. 7 3 . B i r d o ff , Th e World’s Greatest Hit , p. 299. 7 4 . D r u m m o n d a n d M o o d y , “ Th e Hit of the Century,” p, 320; Birdoff , Th e World’s Greatest Hit , p. 299. 7 5 . M o o d y , Dramas , p. 357. 7 6 . B i r d o ff , Th e World’s Greatest Hit, pp. 300–01. J. Frank Davis, in his article on Tom shows, describes the training of Uncle Tom dogs as practiced by A. B. Stover, head of Stover’s Original Uncle Tom’s Cabin Company of Boston. Davis reports that Stover would appear before his three dogs with a package of meat. He then cut it into small pieces, “divided them into three piles, and got out a big red bandana, which he draped about his neck with the fullness in front, fi rst protecting his shirt with another handkerchief, a white one. He fi lled the pouch in the bandana with a third of the meat, called one of the dogs by name, and began gravely to step and turn in a sort of slow war dance. Th e dog . . . followed him, springing into the air without striking his master . . . , and at each successful leap gulping such a part of the meat as he was able to pick out of the handkerchief. When he had secured it all, Stover showed him the empty bandana, refi lled it, called another dog, and repeated the programme. [Th en] he did it a third time. By feeding [the dogs] in this 254 Notes

manner daily, the manager had the beasts trained to follow, baying madly, any Eliza crossing the ice who wore a red handkerchief about her neck fi lled with meat.” (Davis, “Tom Shows,” 356–57). 7 7 . B i r d o ff , Th e World’s Greatest Hit , p. 301. 78 . Ibid., pp. 226–27; Moody, Dramas , p. 357. Odell confi rms the event in his chronicles. 79 . Odell, X: 38, 83. 8 0 . I b i d . 8 1 . I n f o r m a t i o n i n t h i s p a r a g r a p h i s f r o m “ Th e Fisk Jubilee Singers – Our History.” www.fi skjubileesingers.org/our_history.html. 8 2 . I b i d . 83 . During the decades leading up to Uncle Tom’s Cabin , Jarrett had man- aged a number of prominent American theatres including the National Th eatre in Washington, the Brooklyn Academy of Music (where he saw Mrs. Howard’s Topsy), and Niblo’s Garden, the site of his Black Crook success. 8 4 . “ A F a m o u s M a n a g e r G o n e , ” New York Times , July 21, 1879 cited on Uncle Tom’s Cabin & American Culture website. {*} 85 . Odell, X: 366–67. When the Jarrett and Palmer Uncle Tom’s Cabin returned to Booths in 1880, the cast was composed of: Uncle Tom...... A. H. Hastings Phineas...... Charles Wheatleigh Legree...... Lewis Morrison Marks...... Harry Courtaine St.Clair...... Nelson Decker George Shelby...... F. Barrett Haley...... Ogden Stevens Cassie...... Jennie Carroll Aunt Chloe...... Fanny Denham Topsy...... Marie Bates (Unidentifi ed Clipping, “Uncle Tom’s Cabin at Booth’s,” December 29, 1880. Harry Birdoff Collection, Harriet Beecher Stowe Center). 8 6 . “ S o m e t h i n g Th at Will Astonish England,” Th e Washington Post , April 5, 1878, Uncle Tom’s Cabin & American Culture Website. {*} 8 7 . I b i d . 8 8 . “ S o m e t h i n g Th at Will Astonish England”; Clipping, “Uncle Tom’s Cabin at Booth’s,” December 29, 1880, Harry Birdoff Collection, Harriet Beecher Stowe Center. 8 9 . U n i d e n t i fi ed Clipping, January 8, 1881. Harry Birdoff Collection, Harriet Beecher Stowe Center; Unidentifi ed Clipping, January 15, 1881, Harry Birdoff Collection, Harriet Beecher Stowe Center. Before leaving for England, Jarrett and Palmer cleared $45,000 in Brooklyn and an additional $27,000 in Philadelphia. Notes 255

9 0 . B i r d o ff , p. 315. Birdoff ’s chronicle is especially strong in its description of the special eff ects that were incorporated into stage versions of Uncle Tom’s Cabin . He, however, does not describe how Jarrett was able to create “real” pearly gates. 9 1 . I b i d . 9 2 . I b i d . 9 3 . B i r d o ff , Th e World’s Greatest Hit , p. 317. 94 . Ibid.; Clipping, “Uncle Tom’s Cabin at Booth’s,” December 29, 1880, Harry Birdoff Collection, Harriet Beecher Stowe Center. Th e use of colored lights for the Apotheosis had disastrous consequences in Johnstown, Pennsylvania in December 1889 (See “Accidents” this chapter). 9 5 . B i r d o ff , Th e World’s Greatest Hit , p. 320. 9 6 . T o l l , Blacking Up, p. 145. Noticing that other popular entertainments had “increased and enlarged their dimensions” since the war, while min- strelsy had remained virtually unchanged, Haverly devised what has been described by historians as a “lunatic transmogrifi cation”—the mammoth minstrel company. Billing his troupe, which was created by combining four standard-size minstrel shows, into Haverly’s United Mastodon Minstrels and unabashedly boasting “FORTY – 40 – COUNT ‘EM – 40 – FORTY” minstrels, Haverly’s company toured the country, rivaling even the Barnum & Bailey Circus, itself a combination. 9 7 . T o l l , Blacking Up , pp. 145–47. 9 8 . B i r d o ff , Th e World’s Greatest Hit , p. 309. Stephen Johnson (“Uncle Tom at Middle Age: Th e Transition from Stage Tradition to Screen, Unpublished manuscript, pp. 29–31). 9 9 . B i r d o ff , Th e World’s Greatest Hit , p. 310; Unidentifi ed clipping, Harry Birdoff Collection, Harriet Beecher Stowe Center. 1 0 0 . U n i d e n t i fi ed clippings, Harry Birdoff Collection, Harriet Beecher Stowe Center. 101 . Advertisement for Stetson’s Mammoth Spectacular Double Uncle Tom’s Cabin Company, New York Dramatic Mirror , December 20, 1902. {*} 1 0 2 . U n i d e n t i fi ed clipping, Farm & Fireside , April 1923 , p 8. 1 0 3 . B i r d o ff , Th e World’s Greatest Hit , p. 310. 1 0 4 . I b i d . 1 0 5 . M o o d y i n Dramas (p. 356) lists one unnamed company in which three per- formers enacted all of the roles. 1 0 6 . B i r d o ff , Th e World’s Greatest Hit , p. 214; Moody, Dramas, p. 356. 1 0 7 . W i l l i a m L . S l o u t , “Uncle Tom’s Cabin in American Film History,” Journal of Popular Film 2 (Spring 1973 ): 138. 1 0 8 . M o o d y , Dramas, p. 356. 1 0 9 . J o h n F r i c k , New York’s First Th eatrical Center: Th e Rialto at Union Square . (Ann Arbor: UMI Research Press, 1985 ), pp. 1–3. 110 . Johnson, “Uncle Tom in Middle Age,” Th e Transition from Stage Tradition to Screen. Unpublished manuscript, p. 13. Th e theatrical syndicate was a 256 Notes

monopoly that controlled fi rst-class theatre production in America at the beginning of the twentieth century. (See Monroe Lippman, “Th e Eff ect of the Th eatrical Syndicate on the Th eatrical Art in America,” Quarterly Journal of Speech 26 (April 1941 ): 275–82. 1 1 1 . B i r d o ff , Th e World’s Greatest Hit , p. 260. 1 1 2 . M o o d y , Dramas, p. 349. 1 1 3 . G o s s e t t , Uncle Tom’s Cabin and American Culture , p. 368. 1 1 4 . B i r d o ff , Th e World’s Greatest Hit , p. 277. 115 . Information in this and the following paragraph are from Birdoff , Chapter XII and Frank Davis, “Tom Shows,” Scribner’s 77 (April 1925 ): 350–60. 116 . Frank Davis, “Tom Shows,” 351. 1 1 7 . G o s s e t t , Uncle Tom’s Cabin and American Culture , p. 378. 118 . Harriet Beecher Stowe, Uncle Tom’s Cabin (New York: W. W. Norton & Company, 1994 ), p. 6; Stowe cited in Susan Belasco, “Hymns Songs, and Music,” in Uncle Tom’s Cabin . Uncle Tom’s Cabin and American Culture website. {*} 119 . Harriet Beecher Stowe cited in Gossett, Uncle Tom’s Cabin and American Culture , p. 71. 120 . Deane L. Root, “Th e Music of Uncle Tom’s Cabin,” Interpretive Exhibits, Uncle Tom’s Cabin and American Culture website). {*} According to Susan Belasco, much of this music is in the form of hymns and, in fact, Tom’s hymnal is as important to him as is his Bible. (Hymns, Songs, and Music in Uncle Tom’s Cabin , Uncle Tom’s Cabin and American Culture website). {*} 1 2 1 . Th omas L. Riis, “Th e Music and Musicians in Nineteenth-Century Productions of Uncle Tom’s Cabin,” American Music 4 (Autumn 1986 ): 268. 122 . Riis, “Music and Musicians in Nineteenth-Century Productions,” p. 269. 123 . See Ibid. for further details about the musical composition of each. 1 2 4 . “ Th e Songs of Uncle Tom’s Cabin on Stage,” Uncle Tom’s Cabin and American Culture website. {*} 125 . Riis, “Music and Musicians in Nineteenth-Century Productions,” p. 271; David S. Reynolds, Mightier Th an the Sword: Uncle Tom’s Cabin and the Battle for America (New York: W. W. Norton & Company, 2011 ), p. 85. 1 2 6 . R e y n o l d s , Mightier Th an the Sword , p. 85. Before Uncle Tom’s Cabin disap- peared from the American stage, other Foster songs—“Old Folks at Home,” “Nelly Bly,” “Massa’s in de Cold Ground,” “Old Black Joe,” and others— were routinely incorporated into Tom shows. 127 . Riis, “Music and Musicians in Nineteenth-Century Productions,” p. 271. 1 2 8 . R e y n o l d s , Mightier Th an the Sword , p. 183. 129 . Ibid., p. 182–83. 1 3 0 . I b i d . , p . 1 8 3 . 1 3 1 . G o s s e t t , Uncle Tom’s Cabin and American Culture , p. 70. 132 . Mary Fenton, “African-American Dance History,” eHow www.ehow.com /about_5526590_africanamerican-dance-history.html; Shantella Sherman, Notes 257

“Th e History of Black Dance in America.” http://fi ndarticles.com/p/articles /MI_qa3812/is_200001/aI_n8890658/. 133 . Fenton, “African-American Dance History.” 1 3 4 . I b i d . 135 . Stephen Railton, “Readapting Uncle Tom’s Cabin,” in Nineteenth-Century America Fiction on Screen ed. E. Barton Palmer, (Cambridge: Cambridge University Press, 2007 ), p. 67. 1 3 6 . B i r d o ff , Th e World’s Greatest Hit , p. 267. 137 . Information on Abbey’s and Martins companies is from miscellaneous clip- pings, Harry Birdoff Collection, Harriet Beecher Stowe Center. 138 . Miscellaneous Clippings, Harry Birdoff Collection, Harriet Beecher Stowe Center; “Tom Shows,” Clipping, Harry Birdoff Collection, Harriet Beecher Stowe Center. 1 3 9 . H a r r y B i r d o ff , “All-time Champ of Roadshows,” Th e Billboard, December 18, 1918 . 1 4 0 . I b i d . 1 4 1 . I b i d . 142 . “With the Advance Agent,” Clipping, Harry Birdoff Collection, Harriet Beecher Stowe Center. 143 . Clipping, Harry Birdoff Collection, Harriet Beecher Stowe Center; Birdoff , 260–62. While Jarrett and Palmer claimed credit for the fi rst lithographic poster, Birdoff has discovered evidence that the Courier Company in Buff alo, New York, and the Strobridge Lithographic Company in Cincinnati created Lithographic posters in 1889, before Jarrett and Palmer exhibited theirs. (Birdoff , Th e World’s Greatest Hit , p. 261). 1 4 4 . B i r d o ff , Th e World’s Greatest Hit , p.320. 145 . Clipping, Harry Birdoff Collection, Harriet Beecher Stowe Center. 1 4 6 . B i r d o ff , Th e World’s Greatest Hit , pp. 232–33, 237. 1 4 7 . A i k e n , Uncle Tom’s Cabin in Moody, Dramas, p, 396; Birdoff , Th e World’s Greatest Hit , p. 315. 148 . De Wolf Hopper quoted in Birdoff , Th e World’s Greatest Hit , pp. 317–18. 1 4 9 . B i r d o ff , Th e World’s Greatest Hit , pp. 318–19. 1 5 0 . G o s s e t t , Uncle Tom’s Cabin and American Culture, p. 369; Birdoff , Th e World’s Greatest Hit , pp. 232–33, 319. 1 5 1 . “ A n ‘ U n c l e T o m ’ A u d i e n c e S c a r e d , ” Washington Post , May 29, 1883; {*} “Another Idiot Cries ‘Fire’!” Washington Post , October 3, 1887. {*} 1 5 2 . B i r d o ff , Th e World’s Greatest Hit, p. 315; Clipping, Harry Birdoff Collection, Harriet Beecher Stowe Center. 153 . “A Panic in a Th eatre,” Washington Post , May 20, 1886. {*} 1 5 4 . B i r d o ff , Th e World’s Greatest Hit , p. 318; “Johnstown’s Ill Fate,” Washington Post, December 11, 1889. {*} A full listing of the dead can be found on the Uncle Tom’s Cabin and American Culture website. Go to “Reviews, Notices & Newspaper Ads,” then to “ Other Newspaper Items,” then to “Johnstown’s Ill Fate.” 258 Notes

1 5 5 . C l i p p i n g s , “ W o r l d P l a y e r s ” a n d “ Th e Uncle Tom Fire,” that describe the 1889 train fi re in Montana, Harry Birdoff Collection, Harriet Beecher Stowe Center. 1 5 6 . I b i d . 1 5 7 . M o o d y , Dramas , p. 356.

5 LONG LIVE UNCLE TOM! UNCLE TOM’S CABIN IN THE TWENTIETH CENTURY

1 . T h o m a s F . G o s s e t t , Uncle Tom’s Cabin and American Culture (Southern Methodist University Press, 1985), p. 371. 2 . Clipping, Unidentified Newspaper, December 10, 1904. {*} 3 . Stephen Johnson, “Uncle Tom in Middle Age: The Transition from Stage Tradition to Screen,” Unpublished manuscript, p. 54. 4 . William A. Brady, Internet Broadway Database, www.ibdb.com/person .php? Id=14247. In truth, Brady was not the producer of Tea and Sympathy , which was staged at his theatre, but he is frequently mentioned in the credits for the show. 5 . B r a d y , Showman ( New York: E. P. Dutton, 1937 ), p. 48 6 . For a more complete description of this training procedure, see Showman p. 48. 7 . J o h n W . F r i c k , New York’s First Theatrical Center: The Rialto at Union Square (Ann Arbor: University of Michigan Research Press, 1985 ), pp. 30–32. 8 . Information on the Academy of Music is from Frick, Rialto , pp. 11–24. 9 . I b i d . , p p . 1 3 – 1 6 . 1 0 . U n i d e n t i fi ed Typescript, “Uncle Tom’s Cabin, Melodrama in Five Acts,” Harriet Beecher Stowe Center; Johnson, “Uncle Tom in Middle Age,” pp. 50–51; “Uncle Tom Back at Old Stand,” Th e Herald, March 5, 1901; {*} Th e World March 3, 1901. {*} 11. “Uncle Tom Back at Old Stand,” Th e Herald March 5, 1901. {*} In some pro- ductions and descriptions of those shows, St. Clare was spelled St. Clair. When recorded in a cast list or within a citation, the incorrect spelling is retained. 1 2 . L a w r e n c e R e a m e r , “ Th e Drama,” Harper’s Weekly , March 23, 1901. {*} 13 . Johnson, “Uncle Tom in Middle Age,” pp. 48, 51; Brady’s 1901 Script, Uncle Tom’s Cabin & American Culture Website. {*} 1 4 . A . N i c h o l a s V a r d a c , Stage to Screen: Th eatrical Method from Garrick to Griffi th (Cambridge, MA: Harvard University Press, 1949 ), p. XXV. While it is certainly true that many of the earliest fi lms utilized painted drops and theatrical box sets, movies as early as 1903 were moving steadily toward greater realism. 15 . Although both Purdy and Barnum produced the most elaborate scenery of its time for their productions, it was still predominantly two-dimensional and painterly. Notes 259

16 . Johnson, “Uncle Tom in Middle Age,” p. 51. 17 . Daniel J. Watermeier, “Actors and Acting,” Th e Cambridge History of the American Th eatre, 1870–1945, eds. Don B. Wilmeth and Christopher Bigsby. Vol. 2 (Cambridge: Cambridge University Press, 1999 ): p. 468; Garff B. Wilson, A History of American Acting (Bloomington, MA: Indiana University Press, 1966 ), pp. 240–42. 18 . Watermeier, “Actors and Acting,” p. 448. 19 . Miscellaneous Brady notes, Harriet Beecher Stowe Center; Johnson, “Uncle Tom in Middle Age,” p. 50. 20 . Johnson, “Uncle Tom in Middle Age,” p. 50. According to Johnson, Roberts, for the scene in which he beat Tom, devised a tar bottle fi lled with blood which he could break over Lackaye’s head (p. 51). 2 1 . H a r r y B i r d o f f , The World’s Greatest Hit: Uncle Tom’s Cabin (New York: S. F. Vanni, 1947 ), p. 360. 22 . Unsigned Review, “Old and New Romantic Drama,” New York Times , March 10, 1901. {*} 23 . Johnson, “Uncle Tom in Middle Age,” p. 48. 24 . Ibid., p. 51. 2 5 . I b i d . , p . 4 4 . 2 6 . B r a d y , Uncle Tom’s Cabin typescript; {*} Brady’s 1901 Script. {*} 27 . Johnson, “Uncle Tom in Middle Age,” p. 54. 2 8 . B r a d y , Uncle Tom’s Cabin Script, 1901 {*}. 29 . Ibid. ; {*}; Johnson, “Uncle Tom in Middle Age,” p. 54; Stephen Railton, “William A. Brady’s 1901 Script,” Uncle Tom’s Cabin & American Culture Website. {*} 30 . Johnson, “Uncle Tom in Middle Age,” p. 55. 31 . “Uncle Tom Back at Old Stand,” Th e Herald , March 5, 1901; {*} “Runaway in Uncle Tom’s Cabin,” New York Tribune , March 5, 1901. 3 2 . “ O v e r t h e F o o t l i g h t s , ” U n i d e n t i fi ed Newspaper Clipping, Harriet Beecher Stowe Center; “Runaway in Uncle Tom’s Cabin,” New York Tribune , April 13, 1901. 33 . “Impresario Brady Brings ‘Uncle Tom’s Cabin’ to New Fame,” Unsigned Article, New York World , March 10, 1901. {*} 3 4 . L a w r e n c e R e a m e r , “ Th e Drama”; {*} “Old and New Romantic Drama, Unsigned Article,” New York Times, March 10, 1901; {*} “Dramatic and Musical,” New York Times , March 7, 1901. {*} 35 . “Impresario Brady.” {*} 36 . “Uncle Tom’s Cabin Company Arrives,” Chicago Tribune , May 21, 1901. {*} 3 7 . U n s i g n e d R e v i e w , Chicago Tribune, June 16, 1901. Although attendance dropped off during the fi nal week of the run, all expenses of the engagement were paid early in the second week, leaving the returns from the last 10–12 performances as profi t. 38 . Frank S. Arnett, “Fifty Years of Uncle Tom,” Munsey’s Magazine (September 1902 ): 898–902. {*} 260 Notes

39 . Harmount initially had seven children, but his oldest daughter, Ida, died in 1891. 40 . Information in this paragraph is excerpted from Isaac Blaine Quarnstrom, “Harmount’s Uncle Tom Cabin Company: A Study of a Twentieth-Century Tom Show,” Ph.D. Dissertation, Th e Ohio State University, 1967 , pp. 52–54. Th e Viola Allen who toured with the Harmount Uncle Tom’s Cabin Company was not the same actress who made her reputation on Broadway and in Charles Frohman’s Empire Stock Company. 4 1 . Q u a r n s t r o m , “ H a r m o u n t ’ s Uncle Tom Cabin Company,” pp. 52–54; John C. Morrow, “Th e Harmount Company: Aspects of an Uncle Tom’s Cabin Company,” Th e Ohio State Th eatre Collection Bulletin 10 (1963 ): 15–16. Records for the Harmount tours of the 1903, 1904, 1915–16, and 1916 tours are available on the Uncle Tom’s Cabin & American Culture website. Th ere is a gap in the record between September 24 and October 5, 1903. Consequently, the exact number of towns cannot be accurately reported. 42 . Blaine I. Quarnstrom, “Early Twentieth Century Staging of Uncle Tom’s Cabin,” Th e Ohio State Th eatre Collection Bulletin 15 ( 1968 ): 33. 43 . A picture of the same tent in Quarnstrom’s dissertation shows two poles, not one. 4 4 . M o r r o w , “ Th e Harmount Company,” 13. 45 . Quarnstrom, “Harmount’s Uncle Tom Cabin Company,” p. 83–85. 4 6 . M o r r o w , “ Th e Harmount Company,” 14. 4 7 . Th is list of rules and fi nes is from Ibid., 14. 48 . Quarnstrom, “Harmount’s Uncle Tom Cabin Company,” p. 96. 49 . Ibid., pp. 104–06, 112–15. 50 . Ibid., p. 65. 51 . Ibid., p. 105. Possibly because of the addition of “famous” dogs, the Harmount Company in 1911 was advertising “After the Minnow, the Whale,” signify- ing that the new dogs were bigger and better. 52 . Intriguingly, the scene in which Haley makes sexual advances to Eliza also occurs in the 1965 German fi lm ofUncle Tom’s Cabin (See pp. 219–21). 53 . Quarnstrom, “Harmount’s Uncle Tom Cabin Company,” p. 196. In his dis- sertation, Quarnsrom lists all of the script changes which are far too numer- ous to mention here. 54 . John H. McDowell, “‘I’m Going Th ere, Uncle Tom,” Original Scenery, documents, and A Promptbook on Uncle Tom’s Cabin , Th eatre Studies 24/25 ( 1977 –79): 122–23. 5 5 . I b i d . , 1 2 3 . 56 . It is not known for certain how many drops were carried by the Company after 1915. Th e number seems to range from 12 to possibly as many as 22, which was the total number of drops owned by the Harmounts. 57 . Quarnstrom, “Twentieth Century Staging,” p. 35. Notes 261

58 . Quarnstrom, “Harmount’s Uncle Tom Cabin Company,” p. 227. 59 . Information in this paragraph is from Ibid., pp. 225–29. 60 . Quarnstrom, “Twentieth Century Staging,” pp. 40–41. 61 . Quarnstrom, “Harmount’s Uncle Tom Cabin Company,” pp. 245–47. 62 . Quarnstrom, “Twentieth Century Staging” pp. 40–42 63 . Unsigned Article, “Last Days for ‘Uncle Tom,’” New York Times Magazine , July 12, 1931; {*} Elizabeth Corbett, “Uncle Tom Dead,” Th eatre Guild Magazine (January 1931); {*} Unsigned Article, “Shed a Tear for the Passing of Long Suff ering ‘Uncle Tom,’” Literary Digest 14 (February 1931); {*} Fletcher Smith, “Uncle Tom Has Died for the Last Time,” Th e Boston Globe , January 12, 1930 ; {*} R. Burton Rose, “Th e Death of UTC,” Overland Monthly and Out West Magazine (December 1931 ). {*} When she wrote her article, it is likely that Corbett was unaware that the Harval Uncle Tom’s Cabin Company was still touring. 64 . “Last Days for ‘Uncle Tom.’” {*} 65 . For an overview of social changes that took place in the early twentieth century, see John Frick, “A Changing Th eatre: New York and Beyond, 1870–1945,” Th e Cambridge History of American Th eatre , ed. Don B. Wilmeth and Christopher Bigsby, Vol. 2 (Cambridge University Press, 1999 ): pp. 196–232. 6 6 . G o s s e t t , Uncle Tom’s Cabin and American Culture, pp. 370–71; Davis, “Tom Shows” 354–55. 67 . George W. Pughe, “Where Did It Really End?” Unidentifi ed newspaper clip- ping, Harriet Beecher Stowe Center. 6 8 . P e r c y H a m m o n d , “ Th e Th eaters,” Th e New York Herald 4 April 1933. 6 9 . I b i d . , M a y 5 , 1 9 3 3 . 7 0 . I b i d . 71 . Information in this paragraph is from clippings in the Hampden-Booth Library at the Players. 7 2 . I b i d . 7 3 . R i c h a r d D a n a S k i n n e r , “ Th e Players Revive ‘Uncle Tom,’ ” Th e Commonweal , June 9, 1933 , p. 160; “Mister Legree Buys Uncle Tom Again, in the Auction Mart of the Alvin,” New York Times , May 30, 1933 . 74 . “Mister Legree Buys Uncle Tom Again.” 75 . A. M. Drummond, and Richard Moody. “Th e Hit of the Century: Uncle Tom’s Cabin: 1852–1952,” Educational Th eatre Journal 4 (December 1952): 321. 76 . “Mister Legree Buys Uncle Tom Again.” 7 7 . H a m m o n d , “ Th e Th eaters,” Th e New York Herald April 4, 1933 . 7 8 . S k i n n e r , “ Th e Players Revive ‘Uncle Tom,’” p. 160. 79 . John Mason Brown, “‘Uncle Tom,’ Authentic Americana,” Literary Digest , June 17, 1933 : 13. 80 . Bosley Crowther, “Topsy and Eva Again,” New York Times , May 30, 1933 . 262 Notes

81 . Tom Mikotowicz, “George (Francis) Abbott,” in eds. John W. Frick and Stephen M. Vallillo, Th eatrical Directors (Westport, CT: Greenwood Press, 1994 ): pp. 3–4. 82 . George Abbott, Forward, Prompt Script, Sweet River , Billy Rose Th eatre Collection, New York Public Library at Lincoln Center. 83 . Ibid. Although Abbott thought of his production as revolutionary, one scholar considered Sweet River little more than “an old story set to music.” (Moody, Dramas , p. 358). 8 4 . I b i d . 85 . John Mason Brown, “Mixing Old Hokum with Serious Modern Realism,” Unidentifi ed Newspaper Clipping, Billy Rose Th eatre Collection, New York Public Library at Lincoln Center. 8 6 . P l a y b i l l , Sweet River , Hampden-Booth Library at Th e Players. 87 . Abbott, Prompt Script. 8 8 . Th e melodramatic intensity of the scene was diminished by Abbott’s substi- tution of actual bloodhounds for the mastiff s and wolfhounds commonly used by late nineteenth-century Tom troupes. 89 . Brown, “ ‘Uncle Tom’s Cabin’ Now Seen as ‘Sweet River,’ ” Unidentifi ed newspaper Clipping, Billy Rose Th eatre Collection, New York Public Library at Lincoln Center. 90 . Brown, “Mixing Old Hokum.” 91 . Brooks Atkinson, “‘Sweet River,’ Being George Abbott’s Version of ‘Uncle Tom’s Cabin,’” Unidentifi ed Newspaper Clipping, Billy Rose Theatre Collection, New York Public Library at Lincoln Center. 92 . Brown, “Now Seen as ‘Sweet River.’ ” 9 3 . L i n d a W i l l i a m s , Playing the Race Card: Melodramas of Black and White from Uncle Tom to O.J. Simpson (Princeton: Princeton University Press, 2001 ), p. 187. 94 . Grace Elizabeth Hale cited in Williams, Playing the Race Card , p. 189. 95 . P. William Hutchinson, “Trinity Square Company,” Th eatre Journal 32 (May 1980 ): 262–63. 96 . Carolyn Clay, “Renovating ‘Uncle Tom’s Cabin,’” Unidentifi ed newspaper clipping, Brown University Library. 97 . Kevin Kelly, “ ‘Uncle Tom’ at Trinity Sq.” Th e Boston Globe 2 November 1978 . 98 . Clay, “Renovating.” 99 . Joe Butler, “Feature Working Well,” Taunton Daily Gazette , November 8, 1978 . 1 0 0 . I b i d . 1 0 1 . I b i d . 102 . David Benjamin, “Á Paper Mache Dragon,” Th e Mansfi eld (Mass.) News November 9, 1978 . 1 0 3 . J o h n Y o u k i l i s , Issues , November 1978 ; Lawrence Levine cited by Youkilis, Issues . Notes 263

1 0 4 . Y o u k i l i s , Issues . 105 . Eugene Genovese cited in Youkilis, Issues .

6 UNCLE TOM IN MIDDLE AGE: FROM A STAGE TRADITION TO THE SILVER SCREEN

1 . The title of this chapter was taken from an unpublished paper of the same name by Stephen Burge Johnson (“Uncle Tom in Middle Age: The Transition from Stage Tradition to Screen.”). 2 . R o b e r t S k l a r , Movie Made America: A Cultural History of American Movies (New York: Vintage Books, 1994 ), p. 27. 3 . The Life of an American Fireman, The Great Train Robbery, and Uncle Tom’s Cabin were hardly the only films Porter made in 1903. Porter’s filmography (www.imdb.com/name/nm0692105/) shows that during that year Porter worked on nearly 50 films as either director or cinematographer. 4 . Dudley Andrews cited in James Naremore, ed. Film Adaptation (New Brunswick, NJ: Rutgers University Press, 2000 ), p. 29. Film makers’ appropriation of pre-existing texts from other media followed the theatre’s time-honored practice of copying stories from both dramatic and print forms. 5 . B r i a n M c F a r l a n e , Novel to Film: An Introduction to the Theory of Adaptation (Oxford: The Clarendon Press, 1996 ), pp. 6–7. 6 . I b i d . , p . 7 . 7 . Andrews in Naremore, Film Adaptation , p. 10. 8 . Andrews in Naremore, Film Adaptation , p. 30. 9 . Stephen Railton, “Readapting Uncle Tom’s Cabin ,” Nineteenth-Century America Fiction on Screen, ed. E. Barton Palmer (Cambridge: Cambridge University Press, 2007 ), p. 64. Noel Burch believed that the Edison/Porter film was not designed to tell an original story; rather it served to simply “jog” the audience’s memory. Even without a narrator, “the sequence of [shots] formed an easily recognizable narrative progression where everyone knew what had gone before and what was coming.” Any gaps in the cin- ematic narrative were filled in by the audience members (Burch, “Porter, or Ambivalence,” Screen 19, no. 4 (Winter 1978 ): 98–99). 10 . Robert Stam, “Beyond Fidelity: Th e Dialogics of Adaptation” in James Naremore, ed. Film Adaptation (New Brunswick, NJ: Rutgers University Press, 2000 ), p. 54. 11 . E. Barton Palmer, ed. Nineteenth-Century America Fiction on Screen (Cambridge: Cambridge University Press, 2007 ), p. 2. 12 . Stephen Johnson, “Translating the Tom Show: Th e Legacy of Popular Tradition in Edwin S. Porter’s 1903 Film of Uncle Tom’s Cabin ,” in Celebrating 1895: Th e Centenary of Cinema , ed., John Fullerton (London: John Libbey & Company Ltd., 1998), p. 131; Charles Musser, History of the American Cinema. 10 vols., 264 Notes

Volume I: Th e Emergence of Cinema. (New York: Charles Scribner’s Sons, 1990 ): 349; Railton in Palmer, Nineteenth-Century America Fiction on Screen , p. 64. Th e 1903 Lubin fi lm likewise employed an existing Tom troupe. 13 . Johnson, “Translating the Tom Show,” 136fn. 14 . Ben Brewster and Lea Jacobs, Th eatre to Cinema (Oxford: Oxford University Press, 1997 ), pp. 55–56; Unidentifi ed Clipping, Harry Birdoff Collection, Harriet Beecher Stowe Center. 1 5 . S k l a r , Movie Made America , p. 10. 16 . Information in this paragraph is from Sklar, Movie Made America , pp. 10–13, and Musser, “Th e Early Cinema of Edwin Porter:” I: 1–38. 1 7 . M u s s e r , “ Th e Early Cinema of Edwin Porter,” 4. 1 8 . S k l a r , Movie Made America , p. 26. 1 9 . S k l a r , Movie Made America , p. 26; Musser, “Th e Early Cinema of Edwin Porter,” 6. 2 0 . M u s s e r , “ Th e Early Cinema of Edwin Porter,” 5. In the opinion of theatre and fi lm historian Stephen Johnson “since early fi lm could be cut and pasted together by exhibitors as they wished . . . they had the real creative authority [but, Johnson speculates,] they probably didn’t [change] UTC as much, because of audience familiarity with the order of events.” Furthermore, Johnson contin- ues, Porter’s incorporation of scene titles may have been an additional barrier to rearranging the scenes (Johnson, correspondence, June 6, 2010 ). 21 . Adolph Zukor cited in Sklar, Movie Made America , p. 24. 22 . David A. Cook, A History of Narrative Film ( New York: A. A. Norton & Company, 1981 ), p. 19fn; Gerald Mast, A Short History of the Movies (New York: Macmillan, 1986 ), p. 35. 2 3 . S k l a r , Movie Made America , p. 24. 2 4 . C o o k , A History of Narrative Film , pp. 19–20. 25 . Ibid., pp. 23, 24. Noel Burch considers Porter’s Uncle Tom’s Cabin a “mani- festation of a narrativity through montage – the juxtaposition of several shots temporally and spatially disjoined, but linked by knowledge of the story to which they refer.” (Porter, or Ambivalence:” 97). 2 6 . M a s t , A Short History of the Movies , pp. 35–36. 27 . Catalog for Uncle Tom’s Cabin in Brewster and Jacobs, Th eatre to Cinema , p. 54. For detailed analyses of the Edison/Porter Uncle Tom’s Cabin see Johnson, “Translating the Tom Show,” and Railton, “Readapting Uncle Tom’s Cabin,” pp. 62–76. Considering that Porter fi lmed an existing Tom show, the fi nal scene selection may, in fact, have been made by the show’s manager, not by Porter. 2 8 . M u s s e r , “ Th e Early Cinema of Edwin Porter,” I: 349; Unidentifi ed Clipping, Harry Birdoff Collection, Harriet Beecher Stowe Center. 2 9 . U n i d e n t i fi ed Clipping, Harry Birdoff Collection, Harriet Beecher Stowe Center; Brewster and Jacobs, p. 55. Most accounts of Porter’s Uncle Tom’s Cabin maintain that he simply hired and fi lmed an existing Tom troupe, Notes 265

but Stephen Johnson points out that this might be more urban legend than fact, observing that like other directors at the time Porter simply could have wandered over to the Slave Market and hired all the experienced tommers he needed. However, in lieu of evidence that Porter recruited on Union Square, the scholarly consensus remains that he hired an existing Tom troupe. 30 . Brewster and Jacobs, Th eatre to Cinema, pp. 55–56. Since none of the other tableaux involves a static pose held for more than a fraction of a second, Brewster and Jacobs label them “truncated tableaux.” 31 . Johnson, “Translating the Tom Show,” 131. 3 2 . R a i l t o n , “ R e a d a p t i n g Uncle Tom’s Cabin ,” 67. 3 3 . I b i d . 3 4 . R a i l t o n , “ R e a d a p t i n g Uncle Tom’s Cabin ,” 65–66. Porter’s catalog for his fi lm corroborates the interpolation of a cakewalk into St. Clare’s welcome home scene, and the slaves shooting craps in the auction scene. 3 5 . R a i l t o n , “ R e a d a p t i n g Uncle Tom’s Cabin,” pp. 67–68. Topsy’s “terrorizing” Ophelia is also described in the catalog for Porter’s fi lm. 3 6 . M u s s e r , Emergence of Cinema , p. 349. 37 . Clipping, “Porter’s Uncle Tom’s Cabin,” Harry Birdoff Collection, Harriet Beecher Stowe Center. 38 . Johnson, “Translating the Tom Show,” 133. 39 . Stephen Johnson, “Time and Uncle Tom: Familiarity and Shorthand in the Performance Traditions of Uncle Tom’s Cabin,” in Performing Adaptations , ed., Michelle MacArthur, Lydia Wilkinson, and Keren Zaiontz. (Cambridge: Cambridge Scholars Press, Fall 2009 ), p. 87. 4 0 . J o s e p h P . E c k h a r d t , Th e King of the Movies: Film Pioneer Siegmund Lubin (Madison, NJ: Fairleigh-Dickenson University Press, 1998 ), p. 47. 4 1 . E c k h a r d t , Th e King of the Movies, p. 46. Like the appropriation of stories directly from the print media, the practice of duping other directors’ fi lms in the early years of the movie industry was reminiscent of the widespread piracy that was common in the nineteenth-century theatre. 4 2 . E c k h a r d t , Th e King of the Movies , pp. 47–48. 4 3 . I b i d . 4 4 . E c k h a r d t , Th e King of the Movies, pp. 47–48. Both the catalog and the pho- tographs are contained on the Uncle Tom’s Cabin & American Culture web- site. {*} 45 . According to Stephen Railton, Ben Brewster, and Lea Jacobs the only extant copy of the 1910 Vitagraph fi lm—the copy created for distribution in Europe with captions in Danish—is in the National Film and Television Archive in London. 46 . “A Decided Innovation: Th e 3-Reel Vitagraph Production,” Uncle Tom’s Cabin & American Culture Website; {*} Unsigned Review, “Reviews of Licensed Films,” New York Dramatic Mirror, August 6, 1910. {*} It is not known how the fi lm was shown following its opening week. 266 Notes

4 7 . I b i d . Th e New York Dramatic Mirror reviewer’s main criticism of the initial showings was that there should have been captions at the end of reels 1 and 2 to warn audiences that there would be a continuation of the story in the reels to follow later in the week. 48 . Biographical material for J. Stuart Blackton is from BFI Screenonline. www .screenonline.org.uk/. 4 9 . I b i d . 5 0 . R a i l t o n , “ R e a d a p t i n g Uncle Tom’s Cabin ,” in Palmer, p. 68. 5 1 . I b i d . 52 . Just as stage Uncle Toms had problems with their dogs being too friendly toward the actress playing Eliza or wandering off stage, the fi rst dog in the Vitagraph fi lm was wagging his/her tail and looked rather friendly while the second dog in the chase took the wrong path in the woods. 5 3 . V i t a g r a p h Uncle Tom’s Cabin , National Film and Television Archive, London. Brewster and Jacobs note that the 38 intertitles in the original ver- sion complemented the action for 63 shots. 54 . Brewster and Jacobs, Th eatre to Cinema , p. 58. Th e remaining descriptions and assessments of the original 1910 Vitagraph fi lm in the following para- graphs are based upon my viewing of the copy of the fi lm owned by the National Film and Television Archive, London. Th e intertitles of this copy are in Danish. 5 5 . Th is is the so-called Glass fi lm, owned by Murray Glass, which was appar- ently re-edited for home viewing. While the number of reels was expanded, the fi lm was reduced to a running time of 20 minutes, about half of the 1910 movie’s duration. 5 6 . Classic Images Online, Harry Birdoff Collection, Harriet Beecher Stowe Center; Journal for MultiMedia History , Volume 2 (1999). 5 7 . I b i d . 58 . Stephen, Railton, “Complete in One Reel,” Th e Th anhauser Production (1910), Uncle Tom’s Cabin & American Culture website. {*} 5 9 . I b i d . 60 . Stephen, Railton, “Uncle Tom’s Cabin on Film 1: Th e Silent Era,” Uncle Tom’s Cabin & American Culture Website; {*} Unsigned Review, Th e Moving Picture World . August 6, 1910 . {*} 6 1 . I b i d . 6 2 . I b i d . 6 3 . I b i d . 6 4 . U n i d e n t i fi ed Clipping, Harry Birdoff Collection, Harriet Beecher Stowe Center; William L. Slout, “Uncle Tom’s Cabin in American Film History,” Journal of Popular Film 2 (Spring 1973 ): 145; “Harry Pollard and Uncle Tom: Act I: Th e Imp Film,” Uncle Tom’s Cabin & American Culture Website. {*} Later in his fi lm career, Robert Leonard, like Pollard, became a movie director. Notes 267

6 5 . U n i d e n t i fi ed Clipping, Harry Birdoff Collection, Harriet Beecher Stowe Center. 6 6 . I b i d . 6 7 . S l o u t , Uncle Tom’s Cabin , p. 145. 6 8 . “ C o r b , ” Variety , September 5, 1913. {*} 6 9 . U n i d e n t i fi ed Clipping, Harry Birdoff Collection, Harriet Beecher Stowe Center. 7 0 . I b i d . 71 . Karl Schiller, “Uncle Tom’s Cabin,” Motion Picture Story Magazine (January 1913). {*} 72 . Unsigned Review, “Uncle Tom’s Cabin,” Th e Moving Picture World (January 1914). {*} 73 . “Uncle Tom’s Cabin, Kalem Special – 2 Parts – Dec. 1913,” Clipping, Harry Birdoff Collection, Harriet Beecher Stowe Center. 7 4 . I b i d . 75 . George Blaisdell. “ ‘Uncle Tom’s Cabin’: World Film Corporation Releasing Strong Portrayal of Famous Old Story,” Th e Moving Picture World (August 22, 1914 ). {*} 7 6 . I b i d . 77 . “ ‘Uncle Tom’ in Movies,” Unsigned Review, New York Herald, August 25, 1914 . {*} 78 . Vanderheyden Fyles, “Famous Feature Films: ‘Uncle Tom’s Cabin’ and ‘St. Elmo’,” Th e Movie Pictorial (September 19, 1914 ); {*} Unsigned Review, New York Times, August 23, 1914 . {*} 79 . Fyles, “Famous Feature Films.” {*} 8 0 . I b i d . 8 1 . I b i d . 8 2 . “ Th e Greatest Piece of Democratic Propaganda: Famous Players-Lasky Production (1918),” Uncle Tom’s Cabin & American Culture Website. {*} 8 3 . S k l a r , Movie Made America , p. 42. 8 4 . I b i d . 8 5 . I b i d . , p . 4 4 . 8 6 . A d o l p h Z u k o r F i l m o g r a p h y , Internet Movie Database. www.imdb.com /name/nm0958532/ 87 . “Versatile Marguerite Clark, ‘Topsies’ and ‘Evas’ in One,” Photoplay Journal (August 1918).{*} 88 . Unsigned Notice, [From] “At the Th eaters Th is Week,” Washington Post , July 22, 1918. {*} 89 . “Mrs. Cordelia Howard Macdonald,” Dramatic Mirror of Motion Pictures & the Stage , July 20, 1918. {*} Mrs. Macdonald attended at the invitation of the Famous Players-Lasky Corporation and was the guest of honor at the initial screening of the fi lm. 90 . “Versatile Marguerite Clark.” 268 Notes

91 . Dorothy Nutting, “With the Newest ‘Uncle Tom’s Cabin’ Company,” Motion Picture Magazine (September 1918 ). {*} 92 . Antony Anderson, “Grauman’s ‘Uncle Tom’s Cabin,’” Th e Los Angeles Times , July 30, 1918.{*} 93 . Unsigned Article, [From] “Tells About the People of the Screen,” Dramatic Mirror of Motion Picture & the Stage , June 1, 1918. {*} 94 . Unsigned Notice, [From] “At the Th eaters Th is Week,” Washington Post , 22, July 6, 1918; {*} Anderson, “Grauman’s ‘Uncle Tom’s Cabin.’” 9 5 . I b i d . 96 . Mae Tinee, “Due: An Infl ux of Neighborhood EvasTopsies,” Th e Chicago Tribune, July 15, 1918 ; {*} Unidentifi ed Clipping, Harry Birdoff Collection, Harriet Beecher Stowe Center. 9 7 . C l i p p i n g , “ Th e Movie (Universal),” Harry Birdoff Collection, Harriet Beecher Stowe Center. 9 8 . C l i p p i n g , “ Th e Movie (Universal);” Clipping, “Universal (1926),” Harry Birdoff Collection, Harriet Beecher Stowe Center; “Uncle Tom’s Cabin (with Voice & Music Track),” Variety , December 10, 1958. 99 . Mordaunt Hall,“Simon Legree and His Slaves,” New York Times , November 4, 1927 ; “Sid,” “Uncle Tom’s Cabin,” Variety , November 9, 1927. {*} 100 . Neither Universal nor Gilpin ever revealed their diff erences, nor was the nature of Gilpin’s “aggressive” interpretation ever explained. 101 . Hall, “Simon Legree and His Slaves.” 1 0 2 . I b i d . 103 . David Pierce, “Carl Laemmle’s Outstanding Achievement: Harry Pollard and the Struggle to Film Uncle Tom’s Cabin ,” Film History 10 (1998 ): 463–64. 104 . Pierce, “Carl Laemmle’s Outstanding Achievement,” p. 464. 105 . Ibid. On one of the trips onto the river, the wires snapped, sending the actress, the director and the crew careening down the rapids until the ice “raft” fi nally came to rest in calm waters downriver. 106 . Ibid. Despite the diffi culties and misfortunes of fi lming on the Saranac River, including the death of one of the dogs that slipped from the ice and drowned, Pollard was not satisfi ed with the resulting fi lm footage. Consequently, he recreated the Saranac riverfront on the Universal back lot and the entire sequence was reshot. Water was diverted from the Los Angeles River to cre- ate a waterfall and the snowstorm was created “from salt, toasted cornfl akes, and gypsum, with portable airplane engines to drive the snow” (Pierce, “Carl Laemmle’s Outstanding Achievement,” pp. 467–68). 1 0 7 . I b i d . 108 . Ibid., pp. 466–67; Clipping, “Th e Movie (Universal);” “27,400 a Day for Nearly Two Years,” Harry Birdoff Collection, Harriet Beecher Stowe Center. Pollard’s 65 sets were far in excess of the standard eight or nine built for other “big” pictures. 1 0 9 . I b i d . , p . 4 6 6 . Notes 269

110 . Ibid., p. 467. Sadly, shortly after fi lming ended, the Kate Adams exploded, burned and sank. 1 1 1 . I b i d . , p . 4 6 6 . 1 1 2 . I b i d . 113 . Ibid., p. 468; Uncle Tom’s Cabin , Film, Universal Pictures, 1927. 114 . Pierce, “Carl Laemmle’s Outstanding Achievement,” p. 468. 115 . Ibid., p. 462–63. Pollard seemingly either forgot or overlooked Stowe’s own sympathy for the slave owners Shelby and St. Clare. 1 1 6 . I b i d . 1 1 7 . Uncle Tom’s Cabin , Film, Universal Pictures, 1927. Intriguingly, Stowe alludes to a similar scene, stating that “the wedding of Eliza and George had taken place in the Shelby’s parlor and that there was no lack . . . of admir- ing guests to praise the bride’s beauty” (Harriet Beecher Stowe, Uncle Tom’s Cabin (Norton Critical Edition). ed. Elizabeth Ammons (New York: W. W. Norton & Company, 1994), p. 11). According to the Souvenir Program for the fi lm, the movie was originally slated to begin with an auction scene depicting the brutality of the slave system with children being wrenched from their mothers’ arms, but this was deemed to be too graphic and disturbing. 1 1 8 . I b i d . 119 . Unsigned Review, “‘Uncle Tom’ Opens as Film,” Th e Billboard , November 12, 1927; {*} Sid, Variety , November 9, 1927. {*} 120 . Pierce, “Carl Laemmle’s Outstanding Achievement,” p. 468–70; Gary Johnson, “Video Review: Uncle Tom’s Cabin .” Images – Premiere Silents: Peter Pan, Uncle Tom’s Cabin, and Th e Vanishing American. www.imagesjournal .com/issue09/reviews/kinosilent/. Following its debut, Universal reissued the fi lm with a number of “improvements.” Many changes, including a sound track that added a symphonic background of southern melodies and slaves singing as well the voice of Ophelia calling for Topsy, were the studio’s own additions, but other changes were mandated by the censors. Th ey ordered that the word “nigger” be changed to “slave,” had some intertitles like “Besides, marriage between niggers don’t count” excised, instructed scenes of Legree kicking Tom after knocking him down and a second shot of Legree’s face with blood streaming down it be eliminated, and in general “suggested” that the cruelty and gruesomeness of the fi nal scenes be toned down. (Pierce, “Carl Laemmle’s Outstanding Achievement,” pp. 468–469; Slout, Uncle Tom’s Cabin, p. 149). Regarding Eva’s and Topsy’s reduced screen time, Gary Johnson believes that it might ultimately have been a wise choice because when they are on screen, the movie comes to a complete standstill. 121 . Pierce, “Carl Laemmle’s Outstanding Achievement,” p. 470; Johnson, “Video Review: Uncle Tom’s Cabin .” 122 . Johnson,“Video Review.” In fairness to Pollard, Stowe’s own description of Harry gives the impression of femininity. He is described as being “remark- ably beautiful and engaging. His black hair, fi ne as floss silk, hung in glossy 270 Notes

curls about his round, dimpled face, while a pair of large dark eyes, full of fi re and softness and fi re, looked our from beneath rich, long lashes” (Stowe, p. 3). 1 2 3 . “ S i d , ” Variety . {*} 124 . Pierce, “Carl Laemmle’s Outstanding Achievement,” p. 471; Railton, “An Epic of the Old South: Universal Super Jewel Production (1927 ),” Uncle Tom’s Cabin & American Culture website, www.iath.virginia.edu/utc/condi tions.html. 1 2 5 . S l o u t , Uncle Tom’s Cabin , p. 149. Th e 1958 Colorama Features Inc. reissue narrated by Raymond Massey showed him standing in front of a barn at Harriet Beecher Stowe’s birthplace in Litchfi eld, Connecticut. 126 . Stephen Railton, “Uncle Tom’s Cabin on Film 2: Tomming Today,” Interpretative Exhibits, Uncle Tom’s Cabin & American Culture website. {*} 1 2 7 . Th ese and the following “appropriations” are compiled from Railton’s sum- mary, “Tomming Today,” and Slout, Uncle Tom’s Cabin , pp. 142–43. 128 . Railton, “Readapting Uncle Tom’s Cabin, ” p. 73. 129 . Sergio, “Uncle Tom’s Cabin – German (Deutsch) Style,” March 20, 2011 . www.shadowandact.com/?p=42189 1 3 0 . Th e following assessment is based upon a viewing of the German fi lm. 131 . Unseen Films. “Uncle Tom’s Cabin,” Friday, November 25, 2011. http:// unseenfi lms.blogspot.com/2011/11/uncle-toms-cabin-1965.html 1 3 2 . Th is evaluation of the Avery Brooks made-for-TV movie is based upon viewing of the videotape. 133 . Errol G. Hill and James V. Hatch. A History of African American Th eatre . (Cambridge: Cambridge University Press, 2003 ), p. 1. 134 . Gary Johnson, “Vanishing Silents.”

EPILOGUE: THE STORY THAT WON’T STAY DEAD

1 . Lawrence Reamer, “The Drama.” Harper’s Weekly , March 23, 1901. {*} 2 . Elizabeth Corbett, “Uncle Tom Dead,” Theatre Guild Magazine (January 1931) {*}. 3 . Ben Brantley, “Stowe’s Cabin, Reshaped as a Multistory Literary Home,” New York Times, December 12, 1997 ; Philip Sokoloff, “Publicity for the Arts,” December 16, 2001 . www.sacredfools.org/mainstage/02 /uncletom _pressrelease.htm 4 . Sokoloff, “Publicity for the Arts.” 5 . I b i d . 6 . Miscellaneous Reviews, American Century Theater Uncle Tom’s Cabin , www.americancentury.org/reviews_utc.htm Notes 271

7 . “Metropolitan Playhouse Presents UNCLE TOM’S CABIN.” http:// offbroadway. broadwayworld.com/article/Metropolitan_Playhouse _Presents_UNCLE _TOMS_CABIN_11131212_20101113 8 . “Metropolitan Playhouse Presents UNCLE TOM’S CABIN”; Alexander Roe, “ ‘Loving Topsy:’ Embracing Uncle Tom’s Cabin on the 21st-Century Stage.” Presentation at the Harriet Beecher Stowe at 200: Home, Nation, and Place in the 21st Century conference. Bowdoin College. June 23–26, 2011 . 9 . I b i d . 10 . Roe, Alexander. Correspondence January 24, 2012; Alexander Roe, “Loving Topsy.” 1 1 . W i l l i a m L . S l o u t , Uncle Tom’s Cabin in American Film History,” Journal of Popular Film 2 (Spring 1973 ): 150.

APPENDIX: FAMOUS ACTORS/ACTRESSES WHO APPEARED IN UNCLE TOM’S CABIN

1 . At age 10, Shannon portrayed Aunt Ophelia in a Juvenile Company (1879–80)

B i b l i o g r a p h y

{*} designates the Uncle Tom’s Cabin & American Culture website, www .iathvirginia.edu/utc/conditions.html.

B O O K S

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ARTICLES/REVIEWS/BOOK CHAPTERS/WEB PAGES

“20th Century ‘Uncle Tom’s Cabin,’ According to Brady, in Town.” Clipping. Harriet Beecher Stowe Archive, n.d. “5 Reels & 400 Scenes: The World Producing Corp. Film ( 1914 ).” Uncle Tom’s Cabin & American Culture website. {*} “27,400 a Day for Nearly Two Years.” Article, Harry Birdoff Collection, Harriet Beecher Stowe Center. “Abolition Dramatized.” National Anti-Slavery Standard , August 1853 . {*} A m m o n s , E l i z a b e t h . “ H e r o i n e s i n Uncle Tom’s Cabin .” Critical Essays on Harriet Beecher Stowe . Boston: G. K. Hall, 1980 . A n d e r s o n , A n t o n y . “ G r a u m a n ’ s ‘ U n c l e T o m ’ s C a b i n ’ . ” Los Angeles Times, July 30, 1918 . {*} 280 Bibliography

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“Uncle Tom at Barnum’s.” Unsigned Article. New York Tribune, November 15, 1853 . {*} “Uncle Tom at Barnum’s.” Unsigned Article. New York Tribune , December 2, 1853 . {*} “Uncle Tom at the Bowery.” New York Tribune , January 17, 1854 . {*} “Uncle Tom at Trinity Square.” The Boston Globe 2, November 1978 . “An ‘Uncle Tom’ Audience Scared.” Washington Post , May 29, 1883 . {*} “Uncle Tom Back at Old Stand.” Unsigned Review. The Herald , March 5, 1901 . {*} “Uncle Tom’s Cabin.” New York Times , March 5, 1901 . “Uncle Tom’s Cabin. ” Unsigned Article. Southern Literary Messenger, December 1852 . {*}. “Uncle Tom’s Cabin.” Unsigned Review. The Moving Picture World , January 1914 . {*} “Uncle Tom’s Cabin.” Unsigned Review. Variety , August 9, 1918 . {*} “Uncle Tom’s Cabin at Booth’s.” December 29. Clipping, Harry Birdoff Collection, Harriet Beecher Stowe Center. “Uncle Tom’s Cabin: Carl Laemmle Presents a Harry Pollard Production.” [Video recording]. New York: Kino on Video, c1999. “Uncle Tom’s Cabin Company Arrives.” Chicago Tribune , May 21, 1901 . {*} “ Uncle Tom’s Cabin: The Eye-Witness Story of Slavery in the Deep South .” Videotape, 1965 . “Uncle Tom’s Cabin: The Greatest Hits.” Uncle Tom’s Cabin & American Culture website. {*} “Uncle Tom’s Cabin, Kalem Special – 2 Parts – Dec. 1913 .” Clipping. Harry Birdoff Collection, Harriet Beecher Stowe Center. “ ‘Uncle Tom’s Cabin’ Now Seen as ‘Sweet River’.” Unidentified newspaper clipping, Billy Rose Theatre Collection, New York Public Library at Lincoln Center. “Uncle Tom’s Cabin: The Secret of the Book’s Marvelous Power.” Unsigned Article. Brooklyn Eagle , July 5, 1896 : 31. “Uncle Tom Then and Now.” Evening Transcript (Baltimore) September 5, 1928 . {*} “ ‘Uncle Tom’ was First Play of Many Actors.” Teleplay , February 12, 1922 . {*} “Uncle Tom’s Cabin: With Voice a nd Music Track.” Variety, December 10, 1958 . U n i d e n t i f i e d c l i p p i n g . Farm & Fireside , April 1923 . {*} “(Un)Reconstructing Uncle Tom’s Cabin,” Uncle Tom’s Cabin & American Culture website. {*} U n s i g n e d A n n o u n c e m e n t . Dramatic Mirror of Motion Pictures & the Stage July 20, 1918 . Uncle Tom’s Cabin & American Culture website. {*} U n s i g n e d A r t i c l e . The Mercury (Charleston) May 25, 1852 . {*} U n s i g n e d R e v i e w . The Moving Picture World , August 6, 1910 . {*} U n s i g n e d R e v i e w. The Moving Picture World , January 1914 . {*} U n s i g n e d R e v i e w o f B o s t o n M u s e u m U n c l e T o m ’ s C a b i n . Gleason’s Pictorial Drawing-Room Companion , July 2, 1853 . {*} Bibliography 291

U n s i g n e d / u n t i t l e d A r t i c l e , The Herald , September 3, 1852 . {*} U n s i g n e d / u n t i t l e d A r t i c l e , New York Times , December 8, 1885 . “Versatile Marguerite Clark ‘Topsies;’ and ‘Evas’ in One.” PhotoplayJournal . (August 1918 ). {*} Vicknor , Howard Malcolm . “The Passing of the Boston Museum.” The New England Magazine 28 (June 1903 ): 379–96. Wallace , Michele . “Uncle Tom’s Cabin: Before and After the Jim Crow Era.” The Drama Review 44 (Spring 2000 ): 136–56. Watermeier , Daniel J . “Actors and Acting.” In The Cambridge History of the American Theatre, 1870–1945, edited by Don B. Wilmeth and Christopher Bigsby, II: 446–86. 3 vols. Cambridge: Cambridge University Press, 1999 . Watts , Richard . “Sweet River.” New York Times , October 29, 1935. “What’s News on the Rialto.” New York Times , May 21, 1920 . “William A Brady’s 1901 Script.” Uncle Tom’s Cabin & American Culture website. {*} “William A. Brady.” Internet Broadway Database. http:/www.ibdb.com/person. php? Id=14247 W i l l i a m s , J u d i t h . “ U n c l e T o m ’ s W o m e n . ” I n African-American Performance and Theater History: A Critical Reader, edited by Elam, Harry J., and David Krasner, 19–39. Oxford: Oxford University Press, 2001 . “William Warren Dead.” Unidentified Newspaper Clipping, 22 September 1888 , URL: http://query.nytimes.com/mem/archive-free/pdf?_r =1&res= 9C04EFD B1F38E033A25751C2A96F9C94699FD7CF&oref=slogin “With the Advance Agent.” Clipping. Harry Birdoff Collection, Harriet Beecher Stowe Center. W o l f f , C y n t h i a G r i f f i n. “ M a s c u l i n i t y i n Uncle Tom’s Cabin. ” American Quarterly 47 ( 1995 ): 595–618. “A Word About Museums,” The Nation July 27, 1865 . http://chnm.gmu.edu /lostmuseum/1m/26/ “ Yarborough , Richard . “Strategies of Black Characterization in Uncle Tom’s Cabin and the Early Afro-American Novel.” In New Essays on Uncle Tom’s Cabin, edited by Eric J., Sundquist, 45–84. Cambridge: Cambridge University Press, 1986 . Y e l l i n , J e a n F a g a n . “ D o i n g i t H e r s e l f : Uncle Tom’s Cabin and Woman’s Role in the Slavery Crisis.” In New Essays on Uncle Tom’s Cabin , edited by Eric J. Sundquist, 85–105. Cambridge: Cambridge University Press, 1986 . Y o u k i l i s , J o h n . Issues . November 1978 .

DISSERTATIONS/ UNPUBLISHED MATERIALS/ CONFERENCE PAPERS/ PLAYBILLS

“Autobiography of Joseph Jefferson.” Typescript. Harvard Theatre Collection. Carlyon , David . Research notes, Dan Rice. Collins , John D . “American Drama & Anti-Slavery Agitation.” Dissertation. State University of Iowa, 1963 . 292 Bibliography

Davis , Jim . “Melodrama, Community and Ideology: London’s Minor Theatres in the Nineteenth Century.” Paper, Melodrama Conference. Institute of Education, London, 1992 . “George L. Aiken.” Typescript. Harry Birdoff Collection, Harriet Beecher Stowe Center. Hays , Michael . “To Delight and Discipline: Melodrama as Cultural Mediator.” Paper. Melodrama Conference. Institute of Education, London, 1992 . H o w a r d , W a l t e r . From Slavery to Prohibition: A History of the Drama of Uncle Tom’s Cabin in Seven Tableaux. Unpublished typescript. Harry Ransom Humanities Research Center. The University of Texas at Austin. J o h n s o n , S t e p h e n . C o r r e s p o n d e n c e J u n e 6 , 2 0 1 0 . ———. “Uncle Tom in Middle Age: The Transition from Stage Tradition to Screen.” Unpublished manuscript. Kelley , Mary . “ ‘Feeling Right’: Harriet Beecher Stowe, Uncle Tom’s Cabin , and the Power of Sympathy.” Paper presented at Harriet Beecher Stowe Center, Hartford, Connecticut, June 1–2, 2007 . {*} Kesler , William Jackson II. “The Early Productions of the Aiken/Howard Versions of ‘Uncle Tom’s Cabin’.” Dissertation. The University of Texas at Austin, 1968 . P e n t z - H a r r i s , M a r c i a . “ S t a g e M a n a g i n g S t o w e : A i k e n ’ s R e m a s c u l i n i z a t i o n o f Uncle Tom’s Cabin. ” Unpublished paper presented at Theatre Symposium, 2001 . Pitcock , Jennifer Workman , “Imaginary bonds: Antislavery dramas on the New York stage, 1853–1861.” Dissertation. University of Kentucky, 2002 . P r o g r a m . Uncle Tom’s Cabin . San Francisco Mime Troupe, 1990 . Q u a r n s t r o m , I s a a c B l a i n e . “ H a r m o u n t ’ s Uncle Tom Cabin Company: A Study of a Twentieth-Century ‘Tom’ Show.” Dissertation. The Ohio State University, 1967 . Roe , Alexander . “ ‘Loving Topsy:’ Embracing Uncle Tom’s Cabin on the 21st-Century Stage.” Presentation at the Harriet Beecher Stowe at 200: Home, Nation, and Place in the 21st Century conference. Bowdoin College. June 23–26, 2011 . Shipp , Robert H . “Uncle Tom’s Cabin and the Ethos of Melodrama.” Dissertation. Columbia University, 1986 . Uncle Tom’s Cabin . Playbill. Boston Museum December 13, 1852 . {*}

N E W S P A P E R S

The Boston Globe The Boston Herald The Clipper The Dramatic Mirror The National Era The New York Times The New York Tribune The Spirit of the Times The Washington Post

Index

Abbey, Henry E., 130 afterpiece, 44, 240n44 Abbey’s Double Mammoth Uncle Aiken, Frank, 34, 43 Tom’s Cabin Company, 141 Aiken, George Abbott, George, xvi, 174–9, 262n88 career of, 34, 40–1, 42, 50 abolitionism Th e Key To Uncle Tom’s Cabin stage progressive plays on, 26 adaptation by, 26, 41 softening of antislavery message, see also Uncle Tom’s Cabin 88–92, 95–6 (G. Aiken and G. Howard play) abolitionists Allen, Viola, 77, 161, 260n40 portrayal of, 116 Alvin Th eatre (New York), 171, 228 violence directed at, xii, 5 Al W. Martin’s Famous Ideal Uncle Academy of Music (New York), 110, Tom’s Cabin Company, 1, 111, 150–2, 159, 225 141–2, 149 accidents, 145–7, 158 Th e American Century Th eater fi re, 146–7 (TACT), 226 in Tom shows, 3, 147 American Jeremiad, 53 actors Ammons, Elizabeth, xiv acting styles of, 156–7 Andrews, Dudley, 184 actors playing multiple roles, 136 animals, 123, 125, 141–2 list of, xiii see also dogs see also specifi c actors and characters antebellum city, 63 Adams, Bluford, 95, 98, 101 Anthony & Ellis World Adams, Maude, xiii Famous Double Mammoth advance man, 143 Ideal Uncle Tom’s Cabin African Americans Company, 132, 141 attitudes toward and perceptions of, Anti-saloon League, 26 12–16, 120–1, 191 anti-Tom literature and plays, xii, in audience, 48 115–21, 251nn31–2 in casts, xv, 227 Apotheosis, 93, 130–1, 145, 255n94 riots and, 64 see also Grand Allegorical as Uncle Tom, 121–3, 204, 227, Transformation 252n60 Arthur, T. S., 30 294 Index ascension of Eva, 3, 93, 130–1, 146, biological or scientifi c racialism, 13, 154, 192, 227 15–16, 235n44 audience Birdoff , Harry African Americans in, 48 on African American demographic of minstrel shows, 16–17 Uncle Tom, 121 women in, 53 on double characters, 133 see also specifi c productions on Jubilee Singers, 127 authors, male compared to female, on spectacle, 130 9–10 on Tom shows, 134, 135, 142 on Universal Studios Uncle Tom’s Bainter, Fay, xiii, 173, 174 Cabin, 211 Baker, Benjamin, 30 Th e World’s Greatest Hit: Uncle Baltimore, Maryland, 67 Tom’s Cabin, xiv–xv Baltimore Museum, 31 Birdoff Collection, xv, 147, 203 Balukhatyi, Sergei, 58 Birth of a Nation (fi lm), 211, 216, 218 Bank, Rosemarie, 62 Bishop, Ed, 226 Barbier und Neger, oder Onkel Tom in blackbirders, 64 Deutschland (play), 22 Black Codes, 120 Barker, James Nelson, 30 Th e Black Crook (play), 128, 130, 152 Barlow, Milt G., 141, 149, 159 blackface, 14–18, 23, 235n54 Barnum, P. T. Black History Month, 226 Kimball and, 81 Blackton, J. Stuart, 188, 194–9 life and career of, 55, 97–8 Blaisdell, George, 204 as moral entrepreneur, 100–5 blood and thunder dramas, 75 on slavery, 101–2, 248n91 Booth, Edwin, 46, 77, 128 “Barnum’s American Museum” Booth, Junius Brutus, Sr., 45, 77, 82, (essay), 102–3 112, 246n30 Barnum’s American Museum Boothe, Earl, 171 (New York), 55, 72 Booth’s Th eatre, 128–30, 140, attractions and exhibits at, 97–100 144, 145 burning of, 102, 248n80 Boston Commonwealth, 88 Th e Drunkard at, 99, 100 Boston Evening Transcript, 74 Uncle Tom’s Cabin (Conway play) Boston Ideal Double Mammoth Uncle at, xv, 49, 71, 97–106 Tom’s Cabin Company, 132 Barrett, Lawrence, xiii, 152, 173 Boston Museum, xv, 37, 73–8 Baym, Nina, 9–10 acting company, 76–7, 81–2, 96–7 Becker, Howard, 100 Th e Drunkard at, 71, 75–6, 83 Belasco, David, xiii, 114, 251n28 entertainment at, 74–6 Belasco, Susan, xiv, 118, 256n120 Kimball and, 71, 73–7, 81–2, Bennett, James Gordon, 29 244n6 Berlin productions, 22 renovation of, 77, 78, 245n21 Bernhardt, Sarah, 167, 206 Uncle Tom’s Cabin (Conway play) Billboard, 142, 216 at, xv, 71–2, 82, 84, 86–94, 138 Index 295

Boucicault, Dion, 30, 59, 227 Chapin, Edwin, 100 Bowery Th eatre (New York), 38, 45, Chapman, Emma, 56 71, 84, 109 characters cast at, 109 acting styles for, 156–7 Rice, T. D., at, 14, 49, 108–9 actors playing multiple roles, 136 Bradley, Nellie, 26 cross-racial doubling of, 227 Brady, William A., xv, 112, 149–58, double characters, xv, 112, 131–3 258n4 female characters, 60–2, 90 see also Uncle Tom’s Cabin in other fi lms, 218–19 (Brady play) slave characters, 13–14 breakdowns, 90, 247n59 songs assigned to, 138 Brewster, Ben, 190, 265n45 see also specifi c characters and Broening, H. Lyman, 205, 207 productions Brooks, Avery, xvi, 221–3 Chatham Th eatre (later Purdy’s Brougham, John, 26 National Th eatre), 16–17, 46, 173 Brown, Gillian, 9 Chicago, 113–14 Brown, John, 26, 178, 186, 190, 220 Uncle Tom’s Cabin (Brady play) in, Brown, John Mason, 174, 176, 178–9 159–60, 259n37 Brown, William Wells, 26 Chicago Tribune, 209 Bryant, William Cullen, 40 Th e Christian Slave (Stowe), xiv, 26 Buckstone, J. B., 11 Christy, George, 109 Budd, Stephen E., 172 Clapp, John Bouve, 74, 245n10 Buntline, Ned, 30 Clark, Marguerite, 206–9 Burch, Noel, 186, 263n9 Clarke, C. W., 111 Butler, Joe, 181 Clarke, H. G., 111 Butsch, Richard, 16, 53 Clarke, John Sleeper, xiii, 67 Buxton, Ida, 26 Clay, Carolyn, 180 Clay, Henry, 7–8 La Cabane de l’Oncle Tom ou Les Noirs Commager, Henry Steele, 24 en Amérique (play), 22 Th e Commonweal, 173–4 cakewalk, 140 Compromise of 1850, 7–8, 84 Carlson, Marvin, 24 Th e Contrast (Tyler play), 20, 57, 226 Carlyon, David, 118, 119 Conway, H. J. La Case de l’Oncle Tom (play), 22 Dred dramatization and, 26 casts life and career of, 84–6 African Americans in, xv, 227 see also Uncle Tom’s Cabin for Tom shows, 2, 135–7 (Conway play) see also specifi c productions and Cook, David, 188 theatres copyright law, 31 Central Th eatre (New York), 214–15 Corbett, Elizabeth, 169–70, 225, Chalmers, Th omas, 174 261n63 Chanfrau, Frank, 46 Crabtree, Lotta, xiii, 112–14 Channing, William Ellery, 13 Crescent, 118 296 Index

Th e Crock of Gold, or the Toiler’s Trials in Players’ production, 172, 262n88 (play), 76 raising and training, 125–6, 172, Crowther, Bosley, 174 253n76 Cumming, Richard, 180–2 in Sweet River, 176, 262n88 Cushman, Asa, 34, 47 in Uncle Tom’s Cabin (Brady play), Cushman, Charlotte, 76–7 150 –1 Cute, Gumption (fi ctional in Universal Studios Uncle Tom’s character), 20, 57 Cabin, 210 actors playing, xiii, 50 in Vitagraph Uncle Tom’s Cabin character changes for, 157 fi lm, 196, 266n52 Donnelly’s Olympic Th eatre Daily Spy, 38 (New York), 111 Daily Whig, 33 double characters, xv, 112, 131–3 Daly, William Robert, 204–5 Douglass, Frederick, 226 dance, music and, 137–41 Downie’s Spectacular Company, 1 Darwin, Charles, 226 Th e Drama Dept. (New York), 182, Davenport, E. L., 77 225–6 Davenport, Fanny, 152 Dred (Stowe), 26, 27 Davis, David Brion dramatization of, 26, 101, 109, on market capitalism, 19 248n91 on violence, 69 Drew, Frank, 111 Davis, Ed F., 67 Drew, Mrs. John, 76 Davis, J. Frank, 2–3 Th e Drunkard (W. H. Smith play), 26, Davis Uncle Tom’s Cabin Company, 27, 37–8, 42 67, 147 at Barnum’s American Museum, Dawley, J. Searle, 205, 207–9 99, 100 Dawley, T. R., 143 at Boston Museum, 71, 75–6, 83 Th e Death of Little Eva (play), 55 Th e Drunkard’s Family (play), 26 Th e Death of Uncle Tom; or the Du Bois, W. E. B., 226 Religion of the Lowly (G. Aiken Dunbar, Paul Lawrence, 226 and G. Howard play), 42 Duncan sisters, xiii, 218 de Lauretis, Th eresa, 68–9 du Simitière, Pierre Eugène, 72 Denger, Fred, 219–21 Dennett, Andrea Stulman, 81–2 Edison, Th omas, xvi Depression, 143, 171, 179 inventions by, 186–7 Derrida, Jacques, 69 piracy and, 193 De Wolfe’s Uncle Tom’s Cabin, 1 see also Uncle Tom’s Cabin (Edison/ digitized media, 228 Porter fi lm) dime museums, 72–3 Eline, Marie, 200, 204–5 dogs, xv, 58–9, 66, 123–6, 144, Eliza, see Harris, Eliza 253n69 Eliza ou un Chapitre de l’Oncle Tom in Harmount Company, 123, 166, (play), 22 168, 260n51 Empire Safety Film Company, 195, 198 Index 297

England foreign theatrical productions, xiii, American slavery compared to 21–4 English wage slavery, 20, 24 see also specifi c countries blackface in, 23 Forrest, Edwin, 36, 40 Howard Company in, 23 Forrester, N. C., 111 productions in, 22–4, 55, 64 Foster, Charles H., 120, 121 Uncle Tom’s Cabin (Rowe play) in, Foster, Stephen Collins, 139, 128–9 256n126 Th e Escape; or a Leap to Freedom Foucault, Michael, 25 (play), 26 Fox, Caroline “Caddy,” see Howard, Ethiopian Delineators, 14, 108 Caroline Europe, see foreign theatrical Fox, C. K., 34, 43, 47, 50, 56 productions; specifi c countries Fox, Emily, 34, 37, 43, 47 Eva (fi ctional character) Fox, George Howe, 36 actors playing, xiii, 34, 38–40, 174 Fox, George L. (G. L.), 36, 38, 45, ascension of, 3, 93, 130–1, 146, 50, 56, 57 154, 192, 227 Fox-Howard acting company, 76 character changes for, 92–3 see also Howard Company death of, 42, 93, 193, 197–8 Franklin Museum (New York), 71, 107–8 Famous Players in Famous Plays, 206 French, Samuel, 166 Famous Players-Lasky Uncle Tom’s Frohman, Daniel, 207 Cabin, 207–9, 267n89 Frohman, Gustave, 121–2, 251n28 fantasy plantations, 14–15, 18 Fugitive Slave Law, 7–8, 84 Feejee Mermaid, 81 Furnas, J. C., xii Felton, Ray, 226 Fyles, Vanderheyden, 205 Field, Joseph, 118 fi lms, xvi, 170 Th e Gambler (play), 37–8, 42, 76 adaptations, fi delity and, 184–6, Th e Gangs of New York (fi lm), 63, 218 263n4 Garrison, William Lloyd, 51, 104–5 characters in other, 218–19 Gates, Henry Louis, Jr., 226 extant fi lms, 183–4 Genovese, Eugene, 182 Railton on, 185, 190, 196, 265n45 Georgia, 68 see also specifi c fi lms German productions, 22, 71, 111 fi re, 146–7 Germon, Green, 43, 47, 50 burning of Barnum’s American Gillette, William, 156 Museum, 102, 248n80 Gilpin, Charles, 211, 268n100 Fischer, Marguerite, 201, 210–12 Glass fi lm, 266n55 Fiske, Minnie Maddern, xiii, 156 Gleason’s Pictorial Drawing-Room Fisk Jubilee Singers, 127, 139 Companion, 88 Fitzball, Edward, 22 Gone With the Wind (fi lm), 179 Fletcher, Phineas (fi ctional Goodbye to Uncle Tom (Furnas), xii character), 57 Goodbye Uncle Tom (fi lm), xiv 298 Index

Gossett, Th omas Harrigan, Ned, 112, 160 on African American Uncle Tom, 121 Harris, Eliza (fi ctional character), xiii on declining popularity of Tom actors playing, 50 shows, 170 wedding of, 215 on music, 137–8 Harris, George (fi ctional on postwar racialism, 121 character), xiii on Uncle Tom’s Cabin (G. Aiken and actors playing, 50 G. Howard play), 56–7, 60 character changes for, 93, 137, Uncle Tom’s Cabin and American 197, 200 Culture, 115–16 economic exploitation of, 19 Grand Allegorical Transformation, rebellious lines of, 69 130, 145, 167, 168–9 Harris, Little Harry (fi ctional Th e Great Train Robbery (fi lm), 183, character), 19, 217, 227, 269n122 188–90, 192, 206 Harry Ransom Humanities Research Th e Green Mile (fi lm), 218 Center (University of Texas- Greenwich Th eatre (New York), 225 Austin), xvi, 93 Griffi th, D. W., 151, 170, 188, 216, 218 Hart, Tony, 112 Grimsted, David, 60, 65, 85, 86 Harval Uncle Tom’s Cabin Company, 171, 261n63 Hackett, James H., 57 Hatch, James, 121, 122 Hackett, James K., 207 Haverly, J. H., 131, 146, 255n96 Hadley, Elaine, 24, 233n33 Hawthorne, Nathaniel, 9, 10 Hale, Grace Elizabeth, 179 Hays, Michael, 24 Hale, Sarah Josepha, 115, 251n31 heated debate, 105, 249n109 Haley (fi ctional character), 19, 90, Hedrick, Joan, xvi, 6 197, 222 Heth, Joyce, 72 Hall, Adrian, 180–2 Hewitt, “Professor,” 31 Hall, Ed, 180 Higginson, Th omas Wentworth, 101 Hammond, Percy, 172, 174 Hill, Errol Happy Uncle Tom (play), 251n41 on African American Uncle Tom, Harmount, Albert L., 161, 260n39 121, 122 Harmount Company, xv, 123, 161–9, A History of African American 260nn40–1 Th eatre, 223 cast of, 161, 164, 260n40 Hill, Frederick Stanhope, 11, 76 dogs in, 124, 166, 168, 260n51 Hill, Patricia, 7–8, 92 reviews for, 165–6 A History of African American Th eatre scenery and special eff ects of, (Hill, E. and Hatch, J.), 223 166–9, 260n56 Holmes, George Frederick, 5 tents of, 163, 260n43 Hone, Philip, 6 on Uncle Tom’s Cabin & American house playwrights, 84–5 Culture website, 167, 169 Howard, Caroline (“Caddy” Fox), Harper’s Weekly, 153, 159, 225 34–7, 38, 43–4, 50, 54–5, 76, Harriet Beecher Stowe Center, xv 110–11 Index 299

Howard, Cordelia (Cordelia Howard Jerrold, Douglas, 11, 40 Macdonald) Jesse James (play), 165 career of, 34, 37, 38–40, 43–4, Jewett, John P., 4, 21 54–6, 171 Jim Crow legislation, 120 on Famous Players-Lasky Uncle Johnson, Gary, 217, 223, 269n120 Tom’s Cabin, 208, 267n89 Johnson, Stephen, 150 Howard, George C., 26, 34–8, on double characters, 131 40–2, 76 on Uncle Tom’s Cabin (Brady play), see also Uncle Tom’s Cabin (G. 155, 156, 157 Aiken and G. Howard play) on Uncle Tom’s Cabin (Edison/ Howard, Mrs. George, 18 Porter fi lm), 186, 190, 264n20, Howard, Walter, 42, 44, 55, 67 265n29 Howard Company, xv, 33, 37–8 Jonathan (fi ctional character), 20 in England, 23 Jones, Fanny, 76 trip to New York City, 45, 240n48 Jones, Mrs. W. G., 31, 50 see also Uncle Tom’s Cabin (G. Aiken Jordan, Kate, 111 and G. Howard play) Journal of American Drama and humbug, 81 Th eatre, 91 Hunt, Mrs. C. W., 76 Jubilee Singers, xv, 127, 135, 139, 144 Hutchinson, Asa, 30–1 “Jump, Jim Crow” (song), 108 Hyer Sisters, 122–3, 253n65 J. W. Shipman’s Mammoth Uncle Tom’s Cabin Company, 142 I Ain’t Yo Uncle, Th e New Jack Revisionist Uncle Tom’s Cabin Kahn, Edward, 82, 92 (play), xiv Kalem’s Uncle Tom’s Cabin (fi lm), 201–4 Imp Uncle Tom’s Cabin (fi lm), 201–2 Kate Adams (side-wheeler), 214, Issues, 181–2 269n110 Kay, Floraine, 225 Jackson, Samuel L., xvi, 221 Kentucky, 68, 121 Jacksonian democracy, 16 Th e Key To Uncle Tom’s Cabin Jacobs, Lea, 190, 265n45 (Stowe), 26, 41 Jamison, George, 119 Kimball, Moses Jarrett, Henry C., 128–30, 143–5, Barnum and, 81 254n83 Boston Museum and, 71, 73–7, see also Uncle Tom’s Cabin 81–2, 244n6 (Rowe play) life and career of, 79–82, 245n22 Jay Rial’s Ideal Uncle Tom’s Cabin kinetoscope, 183, 186–7 Company, 142 Kitzmiller, John, 219 Jeff erson, Joseph, xiii, 173 Knickerbocker Hall (New York), 108 Jeff reys, Charles, 36 Konigstadisches Th eatre (Berlin), 22 Jerome Lawrence and Robert E. Lee Th eatre Research Institute (Ohio Lackaye, Wilton, 152, 156, 159, 160, 228 State University), 161, 167 Laemmle, Carl, 201, 209 300 Index

Lane, William Henry “Juba,” 118, Lubin, Siegmund, 193–4 251n43 Lucas, Sam, 121–3, 204–5, 228, Lasky, Jesse L., 207–9 252nn60–1 Lea, George, 107 Lucy (fi ctional character), 19 Leffl er, “Yankee,” 111 Legree, Simon (fi ctional character) M. Armbruster and Sons, 167 actors playing, xiii, 156, 174, 211, Macdonald, Cordelia Howard, see 226, 259n20 Howard, Cordelia character changes for, 94, 104, 137, mammoth Tom shows, 132–3, 141–3, 200, 220–1, 247nn68–9 146–7 confession of guilt, 60 man of principle, 61–2 as villain, 58 Mansfi eld, Richard, 77 Lehman’s Uncle Tom Company, 125 Mantell, Robert, 167 Lemoyne, W. J., 43 market capitalism, 18–20 Leonard, Robert Z., 201, 266n64 Marks (fi ctional character) Leonard, William T., 118 actors playing, xiii, 67, 142, 153, LeRoy, Clara, 111 154, 157 Levine, Lawrence, 181 double characters, 132 Lewellen, Mrs. G. W., 118 portrayal of, 136–7 Lhamon, W. T., 15–16, 235n54 Marry No Man If He Drinks (play), 26 Liberator, 51, 88 Marsh, Robert, 107 Life Among the Happy (burletta), 109 Marshall, Jack, 226 Lincoln, Abraham, 110, 133, 186, 187 Martin, Al, 1, 141–2, 149, 150–2 Lingard, James W., 50, 222 masculinity, 8–9, 61–2 Lippard, George, 30 Mason, Jeff rey, 25, 59–60 Literary Digest, 174 Massey, Raymond, 217, 270n125 Little Eva’s Temptation (play), xiii Mast, Gerald, 189 Little Foxes, 36–7 Mayo, Frank, xiii, 57 Little Harry, see Harris, Little Harry McConachie, Bruce Little Katy, or the Hot Corn Girl on market capitalism, 19, 20 (C. W. Taylor play), 40, 54 on moral reform melodramas, 24, 76 Locke, George E. “Yankee,” 46, 76 on Uncle Tom’s Cabin (Conway Loker, Tom (fi ctional character), 19 play), 82, 91 London productions, 22–4, 64 McGlinchee, Claire, 75 Long Brothers Uncle Tom company, McNamara, Brooks, 72 161, 166 Th e Mechanic, or Another Glass Lott, Eric (play), 76 on minstrel shows, 14, 15, 18 Meer, Sarah on Partyside, 95–6 on blackface, 17 on romantic racialism, 12–13 on London productions, 23 studies by, xiv, 8, 29, 66 on Tom Mania, 231n6 Lovejoy, Elijah, 5, 26 on Uncle Tom’s Cabin (Conway Lowe, James, 211 play), 90, 105–6 Index 301 melodrama, 11–12, 233n33 Root on, xiv, 138 devices, 58–60 songs, 35–6 moral reform melodramas, xii, see also bands; specifi c productions 24–7, 57–8, 76, 100, 171 Musser, Charles, 186, 187–8, 193 temperance melodramas, 25–6, 30, 76, 100 NAACP, see National Association for types of, 24 the Advancement of Colored Melton, Miss, 74–5 People Melville, Herman, 9 Nasaw, David, 73 Merriman, Effi e, 26 Natchez (steamboat), 131, 142, 144, Metropolitan Playhouse (New York), 189, 191 226–8 Nathans, Heather, 235n52 Michelena, Teresa, 204–5 Th e Nation, 102 minstrel shows, 13–18, 234n40, National Association for the 235n54 Advancement of Colored People audience demographic of, 16–17 (NAACP), 219, 223 devices and motifs, 90 National Era (newspaper), xi, 4 Lhamon, on, 15, 16 National Th eatre (Boston), 16, 54 Lott on, 14, 15, 18 National Th eatre (New York), see Nathans on, 235n52 Purdy’s National Th eatre origins of, 234n42 (New York) Toll on, 14 National Th eatre (Philadelphia), 107 Mint Th eatre (New York), 182, 225 Negersleben in Nord-Amerika (play), 22 Modjeska, Helena, 167, 173 Neighbor Jackwood (play), 26 Montague, Harry, 151 New England Galaxy Magazine, 79–80 Moody, Richard New Orleans, 117–19 on Jubilee Singers, 127 New York Atlas, 101 on Tom shows, 134–6 New York City, xv, 71, 107–10 moral entrepreneur, 100–5 Howard Company trip to, 45, moral reform melodramas, xii, 24–7, 240n48 57–8, 76, 100, 171 Tom show casting in, 135 Morgan, Matt, 144 see also specifi c productions and Motion Picture Story Magazine, 203 theatres Th e Movie Pictorial, 205 New York Dramatic Mirror, 147, Moving Picture World, 200–1, 266n47 203, 204 New York Herald, 29, 32–3, 51–2, 174 Mowatt, Anna Cora, 30 New York Stage, 49 music New York Times, 156, 173–4 Belasco, S., on, xiv, 256n120 New York Times Magazine, 170 dance and, 137–41 New York Tribune, 104–5, 108–9 Gossett on, 137–8 Niblo’s Garden, 111, 128, 130 Little Eva song, 21 Nikolopoulou, Anastasia, 24 resources on, xiv novels converted to plays, 29–31 302 Index

Odell, George C. D., 50, 107–8 Peck & Fursman’s Mammoth on Jubilee Singers, 127 Spectacular Double Uncle Tom’s on Th e Old Plantation, 119 Cabin Combination, 132 on postwar years, 110–11 Peck & Fursman’s Uncle Tom’s Cabin Odeon Th eatre (New York), 107 Company, 131, 144 Oenslager, Donald, 171, 177–9 Pentz, Marcia, 61 Ohio, 146, 160–9 Perry, Deacon (fi ctional character), 57 Ohio Anti-Slavery Bugle, 88 Phelps, H. P., 40 Th e Old Plantation; or, Uncle Tom As Phillips, Adelaide, 76 He Is (play), 119 Picayune, 118–19 Olp, Georgie Florence, 156, 158 Pickford, Mary, xiii, 207 l’oncletomerie (Tom phenomenon), 22 Picon, Molly, xiii One Cup More, or the Doom of the Pierpont, John, 37, 76, 239n22 Drunkard (play), 76 piracy, 193–4, 265n41 O’Neill, Eugene, 167, 207, 211, 227 plantation scenes, 144–5 O’Neill, James, 167, 184, 207 Players’ production (play), xvi, 171–4 Onkel Tom’s Hütte (fi lm), 219–21 cast of, 173–4 Onkel Tom’s Hütte (play), 22, 111 character changes for, 172 On to Victory (play), 26 dogs in, 172, 262n88 Ophelia (fi ctional character), 60 Playing the Race Card: Melodramas in actors playing, 47, 240n52 Black and White from Uncle character changes for, 93–4 Tom’s Cabin to O. J. Simpson Ossawattomie Brown; or, the (Williams, L.), 179 Insurrection at Harper’s Ferry plays, xv (play), 26 anti-Tom literature and plays, xii, Out of Bondage (play), 122 115–21, 251nn31–2 novels converted to, 29–31 Palmer, Harry, 128–30, 135, 143–5 progressive plays on see also Uncle Tom’s Cabin abolitionism, 26 (Rowe play) see also specifi c productions Panic of 1837, 46, 80 Plessy v. Ferguson, 120 panorama and magic lantern Pollard, Harry, 201, 210–17 shows, xiii Porter, Edwin S. parades, 1–2, 218 fi lms by, 183, 188–9, 263n3 Paris productions, 22 life and career of, 187 Park Th eatre (New York), 110, 111, 112 see also Uncle Tom’s Cabin (Edison/ Parsons & Pool’s Ideal Uncle Tom’s Porter fi lm) Cabin, 1 posters, 1, 143, 257n143 Partyside, Penetrate (fi ctional Postlewait, Th omas, 26–7 character), 20, 89, 94–7 postwar years, 110–12 Peale, Charles Willson, 72–3 Odell on, 110–11 Peale’s New York Museum, 98 racialism during, 119–21 Peale’s Philadelphia Museum, 72, 99 Tom shows during, 134 Index 303

Price, Walter, 176 Rice, Dan, 117–19 Prior, Mrs. J. J., 50 Rice, T. D., 46 proprietary museums, 72–3 at Bowery Th eatre, 14, 49, 108–9 Prosser, Gabriel, 64 dancing by, 140 Purdy, Alexander, 32–3, 44–9, 53–4, as double character, 131 66, 70, 99 as Ginger Blue, 31 Purdy’s National Th eatre (New York) Rigl, Emily, 152–3 Uncle Tom’s Cabin (C. W. Taylor Riis, Th omas, xiv, 138 play) at, 31–3, 46, 138 riots, 64–7 Uncle Tom’s Cabin (G. Aiken and river scenes, 145, 155, 167–8, 178, G. Howard play) at, xv, 32, 200, 212, 268nn105–6 44–54, 66, 105–6, 240n47 Robert E. Lee (steamboat), 131, 142, 144, 191 Quarnstrom, Blaine, 166, 168, 260n53 Roberts, Th eodore, 156 Queen Elizabeth (fi lm), 206–7 Robinson, Marc, xiv Robinson, Solon, 54 racialism Robinson, Yankee, 134, 141 biological or scientifi c racialism, 13, Robson, Stuart, 31 15–16, 235n44 Rock, Mary Ann, 75 during postwar years, 119–21 Roe, Alex, 226–7 romantic racialism, 12–13, 15, romantic racialism, 12–13, 15, 140, 199 140, 199 Root, Deane, xiv, 138 racial stereotypes, 13, 16 Roppolo, Joseph, 117 Railton, Stephen, xiv Rowe, George F., 128–9 on fi lms, 185, 190, 196, 265n45 see also Uncle Tom’s Cabin on Th anhouser Uncle Tom’s (Rowe play) Cabin, 200 Royal Surrey Th eatre, Courtney’s on Uncle Tom’s Cabin (Brady version at, 23, 64 play), 158 Rand, Randolph Curtis, 225 Sacred Fools Th eatre (Los Angeles), Rashad, Phylicia, xvi, 221 225–6 Raymond, Kate, 111 Sadler’s Wells Th eatre (England), 22 Raymond, Maude, 153, 154, 156 –7 St. Clare (fi ctional character), 19 Reamer, Lawrence, 153, 159, 225 actors playing, 34, 35 Rector, Charles, 161 incorrect spelling of, 258n11 reformist playwrights, 11 St. Clare plantation, 153, 154, 213 religious themes, 7–8, 24, 61, 92–3, 176 Salvini, Tommaso, 167 respectability, 53, 99 Sambo (fi ctional character), 114 Reynolds, David, 6, 12, 89, 139 San Francisco Mime Troupe, xiv Reynolds, Jane, 75 Saunders, C. H., 11 Rhode Island, 180–2 Th e Gambler, 37–8, 42, 76 Rial & Draper’s Ideal Uncle Tom’s One Cup More, or the Doom of the Cabin Company, 124, 125, 142 Drunkard, 76 304 Index

Saxton, Alexander, 14–15 Smith, Russell, 144 scenery Smith, W. H., 11, 76, 81–4, 87, 96, lavish sets, 145 106, 246n30 realistic scenery, 153–5, 258nn14–15 see also Th e Drunkard see also specifi c productions Smith, William L. G., 31 Schell, Joseph S., 144 Smith-Rosenberg, Carroll, 106 Schiller, Karl, 203 soliloquies, 60 Scott, Sir Walter, 30 songs, 35–6 Scudder, John, 72–3 assigned to characters, 138 Seavers Opera House (New York), 111 “Jump, Jim Crow,” 108 Senelick, Laurence, 45, 57 Little Eva song, 21 sentimentalism, 10–12 South Carolina, 117 Shelby (fi ctional character), 19, 51, 90, Southern Literary Messenger, 5 197, 203 Southern Quarterly Review, 5 Shiels’ Opera House, 114, 251n28 Southern states, 115–17 ship battles, 144 Black Codes and Jim Crow Shore, Lois, 174 legislation in, 120 Showman (Brady), 150–1 Southern Uncle Tom (play), 31 Siegmann, George, 211 special eff ects Simms, William Gilmore, 5, 115, 232n9 of Harmount Company, 166–9, Sinclair, John, 74 260n56 Siple, S. M., 32, 50–1, 66, 241n59 in Uncle Tom’s Cabin (Edison/ Six Degrees of Crime, or Wine, Women, Porter fi lm), 191–2 Gambling, Th eft, and the Scaff ord in Uncle Tom’s Cabin (Rowe play), (play), 76 129, 255n90 Skinner, Otis, xiii, 173 spectacle, 129, 130–1 Skinner, Richard Dana, 173–4 Birdoff on, 130 Sklar, Robert, 183, 186, 188, 206 in Tom shows, 143–5 slavery Spirit of the Times, 51, 53–4, 107–9, 118 American slavery compared to Staedt Th eatre, 111 English wage slavery, 20, 24 Stallybrass, Peter, 242n91 Barnum on, 101–2, 248n91 Stam, Robert, 185 as peculiar institution, 5, 65 Star Th eatre (formerly Wallack’s, portrayal of slave owners, 19–20, New York), 149, 151–2 23, 116, 269n115 steamboat race, 131, 144, 191 slave auction, 59–60, 66, 105, stereotypes, xii, 13, 16 191, 198 Stetson’s Mammoth Spectacular slave revolts, 64–6 Double Uncle Tom’s Cabin women compared to slaves, 9, 13 Company, 132–3, 142–3, 146–7 see also abolitionism; abolitionists Stevenson, Louise, 21 Slout, William, 228 Stewart, James Brewer, 8 Smith, C. H., 131–2 stock companies, 71, 112–15 Smith, John, 118 Stockwell, L., 142, 153, 154, 157 Index 305

Stone, Fred, xiii Temple, Shirley, 219 Stone, H., 50 Ten Nights in a Bar-room (play), 26, Stowe, Harriet Beecher 27, 30, 40, 46, 165 actress personating, 180 Terry’s Uncle Tom’s Cabin Company, bastardizations of name, 118 2–3 Th e Christian Slave, 26 Th anhouser Uncle Tom’s Cabin (fi lm), Dred, 26, 27 194, 199–201, 204 Th e Key To Uncle Tom’s Cabin, 26, 41 Th eatre Comique (New York), 112, on music and dance, 137–40 127, 250n20 riots witnessed by, 65 Le Th éâtre de la Gaîeté (Paris), 22 threats against, 5 Le Th éâtre de L’Ambigu-Comique walking out of performance, 96 (Paris), 22 see also Uncle Tom’s Cabin (Stowe) Le Th éâtre du Gymnase (Paris), 22 structure of feeling, 11 Th eatre Guild Magazine, 169 subjective camera, 199 theatre history, xii–xiii Sullivan, John L., xiii Th eatre to Cinema (Brewster and Sunday Dispatch, 107 Jacobs), 190 Sundquist, Eric, xiv, 11, 29 theatrical productions, see plays Sutton’s Grand Double Mammoth theatrical syndicate, 135, 255n110 Uncle Tom’s Cabin Company, 132 Th omas, A. E., 172 Swayze, Mrs. J. C., 26 Th ompson, John R., 5 Sweet River (Abbott play), xiv, 174–8 Th ompson’s Uncle Tom’s Cabin cast of, 176–7 Company, 125 character changes in, 176 Tichnor, Howard, 83 dogs in, 176, 262n88 Tinee, Mae, 209 Toll, Robert, 14 Tableaux Vivants (Living Statuary), 99, Tom companies, xiii 248n84 see also specifi c companies TACT, see Th e American Century Tom Mania, xii, xiii, 4 Th eater defi nition of, 231n6 Tappan, Arthur, 5, 65 in Germany, 22 Tappan, Lewis, 65 Meer on, 231n6 Taunton Daily Gazette, 181 Tommers, 3–4, 134 Tayleure, Clifton W., 71 see also Tom shows Taylor, C. W. Tom phenomenon, xi, xv, 4, 12 Dred dramatization and, 26, 109 Tompkins, Jane, xiv, 25, 29, 40 Little Katy, or the Hot Corn Girl Tom shows (traveling productions), and, 54 xii, xv see also Uncle Tom’s Cabin (C. W. accidents in, 3, 147 Taylor play) arrival of, 1–4 Taylor, Laurette, xiii Birdoff on, 134, 135, 142 temperance melodramas, 25–6, 30, casts for, 2, 135–7 76, 100 declining popularity of, 169–71 306 Index

Tom shows—Continued Uncle Tom’s Cabin (Brady play), grass marking system for, 164 xv, 112 in hinterlands, 133–5 cast of, 152–3, 159–60 mammoth, 132–3, 141–3, 146–7 in Chicago, 159–60, 259n37 Moody on, 134–6 dogs in, 150–1 number of, xiv Johnson, S., on, 155, 156, 157 spectacle in, 143–5 in New York, xv, 112, 149–59 Topsy (fi ctional character) popularity of, 159, 225 actors playing, xiii, 18, Railton on, 158 34, 36–7, 43–4, 54–6, realistic scenery of, 153–5 110–11, 154, 173, 208–9, Uncle Tom’s Cabin (Conway play), 20 218–19 at Barnum’s American Museum, xv, character changes for, 94, 136 49, 71, 97–106 portrayal of, 60, 242n91 at Boston Museum, xv, 71–2, 82, Underwood on, 54–5 84, 86–94, 138 Topsy and Eva (fi lm), xiii, 218 cast and characters in, 86–7, Topsy and Eva (play), xiii, 218 103–4 Travers, Edwin, 159 character changes for, 90–4, 104 Trinity Square Repertory production as compromise, 71, 89, 95–6 (play), xvi, 180–2 dance in, 141 Trowbridge, J. T., 26 Kahn on, 92 Troy, New York, 22, 26, 33–8, 42–4, McConachie on, 82, 91 72, 85 Meer on, 90, 105–6 Troy Museum (New York), 26, 33–4, music in, 88 38, 40, 42–4, 72, 85 Partyside in, 20, 89, 94–6 Turner, Florence, 95 reviews of, 87–8, 104–5 Turner, Nat, 64 scenery of, 87, 246n52 Turner, Otis, 201 Uncle Tom’s Cabin (C. W. Taylor play), Tyler, Royall, 20, 57, 99, 226 31–3, 46 cast of, 32 Uncle Dad’s Cabin (play), xiii, 110 character changes for, 32 Uncle Mike’s Cabin (play), xiii music in, 138 Uncle Pat’s Cabin (play), xiii, 110 Uncle Tom’s Cabin (Edison/Porter Uncle Tom (fi ctional character) fi lm), xvi, 141, 183–92 actors playing, xiii, 14, 22, 43, Burch on, 186, 263n9 49–51, 108–9, 114, 152, 159, cast of, 186, 190, 264n29 173, 176, 211, 218, 228 Johnson, S., on, 186, 190, 264n20, African Americans as, 121–3, 204, 265n29 227, 252n60 piracy and, 193–4 character changes for, 92–3, 104 Railton on, 185, 186, 190 death of, 8, 58, 168, 222–3 scenes in, 189–91, 193, 264n27, “Uncle Tom is Dead” (Corbett), 265n34 169–70, 261n63 tricks and special eff ects in, 191–2 Index 307

Uncle Tom’s Cabin (G. Aiken and multiple plot structure of, 7 G. Howard play), xv, 18, 20 opening lines of, xi ads for, 33, 42, 48 permission to dramatize, 30–1, Apotheosis in, 145 238n6 audience reactions to, 50–3, 57–9, as progressive and conservative, 62, 66–70 7–12 cast of, 34, 43, 47–50, 56 resources on, xiv–xv character changes for, 32, 59–62, serialization in National Era, xi, 4 136–7 text of, 56–62, 137 hybrid of, 111 tie-ins, 20–4 Life Among the Lowly as subtitle for, Uncle Tom’s Cabin; Or, the Preservation 33, 42 of Favoured Races in the Struggle music in, 138 for Life (play), 225–6 number of performances, 43, 44, Uncle Tom’s Cabin & American Culture 54, 70, 239n39, 241n74 website, xiv–xv, 93 pay scale for, 135–6 Harmount scenery on, 167, 169 at Purdy’s National Th eatre, xv, 32, music on, 138 44–54, 66, 105–6, 240n47 Uncle Tom’s Cabin and American reviews for, 44, 51–2 Culture (Gossett), 115–16 script revisions to, 129, 136–7, Uncle Tom’s Cabin in Louisiana (play), 157–8, 166, 172, 175, 180, 221, 118–19 226–7, 260n53 Uncle Tom’s Cabin Parade (fi lm), 218 text of, 56–62 Uncle Tom war, 105–6, 149–50, 159 touring productions of, 54–6, 66–8 Underwood, Francis R., 37, 54–5 in Troy, New York, 22, 26, 33–8, United Daughters of the 42–4, 72, 85 Confederacy, 68 Uncle Tom’s Cabin (German fi lm), Universal Studios Uncle Tom’s Cabin 260n52 (fi lm), 195, 202, 209–18 Uncle Tom’s Cabin (Rowe play), cast of, 210–11, 217, 269n122 128–9, 254n85, 254n89 dogs in, 210 in England and Europe, 128–9 reissue of, 217–18, 269n120, 270n125 posters for, 143, 257n143 reviews of, 216–17 special eff ects in, 129, 255n90 script changes for, 215–16, 269n117 spectacle and, 130, 144 sets for, 213–14, 268n108 Uncle Tom’s Cabin (San Francisco Mime Troupe), xiv Valentine, Dr., 75 Uncle Tom’s Cabin (Stowe) Vardac, Nicholas, 155 characters in, xi Variety, 216 as controversial, 4–7 Vesey, Denmark, 64 initial publication of, 4 villains, 58 market capitalism and, 18–20 violence, 63–70, 121 meaning of, 21 Davis, D., on, 69 as mixed text, 12–13 directed at abolitionists, xii, 5 308 Index

Virginia, 67–8, 226 Whyatt, G. H., 76 Vitagraph fi lm company, 184–5 Williams, Linda Vitagraph Uncle Tom’s Cabin (fi lm), on market capitalism, 19 194–9, 198, 266nn53–4 Playing the Race Card: Melodramas cast of, 195 in Black and White from dogs in, 196, 266n52 Uncle Tom’s Cabin to O. J. extant copy of, 265n45 Simpson, 179 von Radvanyi, Géza, 219–21 on postwar racialism, 121 Williams, Odell, 160 Wakefi eld, Gibbon, 19 Williams, Raymond, 11 Walcot, Charles Melton, 75 Wizard of Oz (fi lm), 179 Walker, John, 11 Wolff , Cynthia Griffi n, 8, 61 Wallace, Henry, 22 Woman’s Fiction: A Guide to Wallack, James W., 77 Novels By and About Wallack’s Th eatre, 110 Women in America see also Star Th eatre 1820–70 (Baym), 9–10 Warren, William, 77, 87, 96–7 women Washburn, Leon W., 142 in audience, 53 Washington Hall (New York), 111 female characters, 60–2, 90 Washington Post, 125, 207 male compared to female authors, Waters, Horace, 36 9–10 WCTU, see Women’s Christian slaves compared to, 9, 13 Temperance Union Women’s Christian Temperance Webb, Mary, 26, 238n6 Union (WCTU), 26 Webber’s Uncle Tom’s Cabin Wood’s Minstrel Hall Company, 144 (New York), 108 Webb’s Juvenile Drama Uncle Tom’s Wood’s Museum (Chicago), 113 Cabin, 23 Woods Museum (New York), 127 website, Uncle Tom’s Cabin & World Film Corporation, 204–5 American Culture, xiv–xv, 93, Th e World’s Greatest Hit: Uncle Tom’s 138, 167, 169 Cabin (Birdoff ), xiv–xv Webster, Daniel, 7, 84 West, Mae, xiii Yankee Notions cartoon, 48 West Tennessee Democrat, 124 Yeamans, Annie, 158, 166 Weyant’s Opera House (Columbus, Yeamans, Jennie, 112 Ohio), 146 Yeamans sisters, 112, 153 White, Allon, 242n91 Youkilis, John, 181–2 White, George L., 127 Young, Elizabeth, xiv white supremacy, 13 Whittier, John Greenleaf, 21 Zukor, Adolph, 188, 205–9