Park Theatre the Country Boy Program
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Musical Landmarks in New York
MUSICAL LANDMARKS IN NEW YORK By CESAR SAERCHINGER HE great war has stopped, or at least interrupted, the annual exodus of American music students and pilgrims to the shrines T of the muse. What years of agitation on the part of America- first boosters—agitation to keep our students at home and to earn recognition for our great cities as real centers of musical culture—have not succeeded in doing, this world catastrophe has brought about at a stroke, giving an extreme illustration of the proverb concerning the ill wind. Thus New York, for in- stance, has become a great musical center—one might even say the musical center of the world—for a majority of the world's greatest artists and teachers. Even a goodly proportion of its most eminent composers are gathered within its confines. Amer- ica as a whole has correspondingly advanced in rank among musical nations. Never before has native art received such serious attention. Our opera houses produce works by Americans as a matter of course; our concert artists find it popular to in- clude American compositions on their programs; our publishing houses publish new works by Americans as well as by foreigners who before the war would not have thought of choosing an Amer- ican publisher. In a word, America has taken the lead in mu- sical activity. What, then, is lacking? That we are going to retain this supremacy now that peace has come is not likely. But may we not look forward at least to taking our place beside the other great nations of the world, instead of relapsing into the status of a colony paying tribute to the mother country? Can not New York and Boston and Chicago become capitals in the empire of art instead of mere outposts? I am afraid that many of our students and musicians, for four years compelled to "make the best of it" in New York, are already looking eastward, preparing to set sail for Europe, in search of knowledge, inspiration and— atmosphere. -
In Nineteenth-Century American Theatre: the Image
Burlesquing “Otherness” 101 Burlesquing “Otherness” in Nineteenth-Century American Theatre: The Image of the Indian in John Brougham’s Met-a-mora; or, The Last of the Pollywogs (1847) and Po-Ca-Hon-Tas; or, The Gentle Savage (1855). Zoe Detsi-Diamanti When John Brougham’s Indian burlesque, Met-a-mora; or, The Last of the Pollywogs, opened in Boston at Brougham’s Adelphi Theatre on November 29, 1847, it won the lasting reputation of an exceptional satiric force in the American theatre for its author, while, at the same time, signaled the end of the serious Indian dramas that were so popular during the 1820s and 1830s. Eight years later, in 1855, Brougham made a most spectacular comeback with another Indian burlesque, Po-Ca-Hon-Tas; or, The Gentle Savage, an “Original, Aboriginal, Erratic, Operatic, Semi-Civilized, and Demi-savage Extravaganza,” which was produced at Wallack’s Lyceum Theatre in New York City.1 Both plays have been invariably cited as successful parodies of Augustus Stone’s Metamora; or, The Last of the Wampanoags (1829) and the stilted acting style of Edwin Forrest, and the Pocahontas plays of the first half of the nineteenth century. They are sig- nificant because they opened up new possibilities for the development of satiric comedy in America2 and substantially contributed to the transformation of the stage picture of the Indian from the romantic pattern of Arcadian innocence to a view far more satirical, even ridiculous. 0026-3079/2007/4803-101$2.50/0 American Studies, 48:3 (Fall 2007): 101-123 101 102 Zoe Detsi-Diamanti -
Broadside Read- a Brief Chronology of Major Events in Trous Failure
NEWSLETTER OF THE THEATRE LIBRARY ASSOCIATION Volume 17, Number 1/Volume 17, Number 2 SPECIAL DOUBLE ISSUE Summer/Fa111989 EXHIBITION SURVEYS MANHATTAN'S EARLY THEATRE HISTORY L An exhibition spotlighting three early New York theatres was on view in the Main I Gallery of The New York Public Library at Lincoln Center from February 13, 1990 through March 31, 1990. Focusing on the Park Theatre on Park Row, Niblo's Garden on Broadway and Prince Street, and Wal- lack's, later called the Star, on Broadway and 13th Street, the exhibition attempted to show, through the use of maps, photo- graphic blowups, programs and posters, the richness of the developing New York theatre scene as it moved northward from lower Manhattan. The Park Theatre has been called "the first important theatre in the United States." It opened on January 29, 1798, across from the Commons (the Commons is now City Hall Park-City Hall was built in 1811). The opening production, As You Like It, was presented with some of the fin- est scenery ever seen. The theatre itself, which could accommodate almost 2,000, was most favorably reviewed. It was one of the most substantial buildings erected in the city to that date- the size of the stage was a source of amazement to both cast and audience. In the early nineteenth century, to increase ticket sales, manager Stephen Price introduced the "star sys- tem" (the importation of famous English stars). This kept attendance high but to some extent discouraged the growth of in- digenous talent. In its later days the Park was home to a fine company, which, in addition to performing the classics, pre- sented the work of the emerging American playwrights. -
Hollis Street Theatre Passers-By Program
MOLLIS ST Tli EATRE Charles Froha\a/\i RICH HARRIS LESSEES 5c MANAGERS x x x xxxx ; ; .; x x x x x x x x x x x x x , x , ,; x x , x . , j; HOLLIS ST. THEATRE PROGRAM 3 g | "YOU CAN RELY ON LEWANDOS”! CLEANSERS S DYERS I LAUNDERERS | | I ESTABLISHED 1829 LARGEST IN AMERICA | High Class Work Returned in a Few Days I LEWANDOS | BOSTON SHOPS 17 TEMPLE PLACE and 284 BOYLSTON STREET Phone 555 Oxford Phone 3900 Back Bay BRANCH SHOPS Brookline Watertown Cambridge 1310 Beacon Stree 1 Galen Street 1274 Massachusetts Ave Phone 5030 Phone Newton North 300 Phone Cambridge 945 Roxbury Lynn Salem 2206 Washington Street 70 Market Street 187 Essex Street Phone Roxbury 92 Phone 1860 Phone 1800 Also New York Philadelphia Hartford Providence Albany Washington New Haven Newport Rochester Baltimore Bridgeport Portland Worcester Springfield EXECUTIVE OFFICES 286 BOYLSTON STREET BOSTON YOU CAN RELY ON LEWANDOS fv •>' v >' v .w .v .v >v m-mvww.v.vm'. v.v v mm v :cv. $$$•$ .v.v. :v. .v :> i 4 HOLLIS ST. THEATRE PROGRAM >j I PALMIST FLETCHER I ^ (Lat© of New York City) £• : >; | The World-Renowned Adviser | of of the $: Has Long Enjoyed the Confidence Many Best People in | j; America and Europe § S If there are changes in business, trouble, illness or accidents, happy or dark | § days in store, he sees it all in the lines of your hand and gives you invalu- | | able advice. The right word at the right moment saves many a mistake. % J There are always two ways in life — PSYCHIC PALMISTRY enables $ you to choose the right >: “Fletcher saved me serious mistakes. -
Ms Coll\Wheeler, R. Wheeler, Roger, Collector. Theatrical
Ms Coll\Wheeler, R. Wheeler, Roger, collector. Theatrical memorabilia, 1770-1940. 15 linear ft. (ca. 12,800 items in 32 boxes). Biography: Proprietor of Rare Old Programs, Newtonville, Mass. Summary: Theatrical memorabilia such as programs, playbills, photographs, engravings, and prints. Although there are some playbills as early as 1770, most of the material is from the 19th and 20th centuries. In addition to plays there is some material relating to concerts, operettas, musical comedies, musical revues, and movies. The majority of the collection centers around Shakespeare. Included with an unbound copy of each play (The Edinburgh Shakespeare Folio Edition) there are portraits, engravings, and photographs of actors in their roles; playbills; programs; cast lists; other types of illustrative material; reviews of various productions; and other printed material. Such well known names as George Arliss, Sarah Bernhardt, the Booths, John Drew, the Barrymores, and William Gillette are included in this collection. Organization: Arranged. Finding aids: Contents list, 19p. Restrictions on use: Collection is shelved offsite and requires 48 hours for access. Available for faculty, students, and researchers engaged in scholarly or publication projects. Permission to publish materials must be obtained in writing from the Librarian for Rare Books and Manuscripts. 1. Arliss, George, 1868-1946. 2. Bernhardt, Sarah, 1844-1923. 3. Booth, Edwin, 1833-1893. 4. Booth, John Wilkes, 1838-1865. 5. Booth, Junius Brutus, 1796-1852. 6. Drew, John, 1827-1862. 7. Drew, John, 1853-1927. 8. Barrymore, Lionel, 1878-1954. 9. Barrymore, Ethel, 1879-1959. 10. Barrymore, Georgiana Drew, 1856- 1893. 11. Barrymore, John, 1882-1942. 12. Barrymore, Maurice, 1848-1904. -
United States Theatre Programs Collection O-016
http://oac.cdlib.org/findaid/ark:/13030/c8s46xqw No online items Inventory of the United States Theatre Programs Collection O-016 Liz Phillips University of California, Davis Library, Dept. of Special Collections 2017 1st Floor, Shields Library, University of California 100 North West Quad Davis, CA 95616-5292 [email protected] URL: https://www.library.ucdavis.edu/archives-and-special-collections/ Inventory of the United States O-016 1 Theatre Programs Collection O-016 Language of Material: English Contributing Institution: University of California, Davis Library, Dept. of Special Collections Title: United States Theatre Programs Collection Creator: University of California, Davis. Library Identifier/Call Number: O-016 Physical Description: 38.6 linear feet Date (inclusive): 1870-2019 Abstract: Mostly 19th and early 20th century programs, including a large group of souvenir programs. Researchers should contact Archives and Special Collections to request collections, as many are stored offsite. Scope and Contents Collection is mainly 19th and early 20th century programs, including a large group of souvenir programs. Access Collection is open for research. Processing Information Liz Phillips converted this collection list to EAD. Preferred Citation [Identification of item], United States Theatre Programs Collection, O-016, Archives and Special Collections, UC Davis Library, University of California, Davis. Publication Rights All applicable copyrights for the collection are protected under chapter 17 of the U.S. Copyright Code. Requests for permission to publish or quote from manuscripts must be submitted in writing to the Head of Special Collections. Permission for publication is given on behalf of the Regents of the University of California as the owner of the physical items. -
3. New York City's Theater
Diplomarbeit Titel der Diplomarbeit Stage New York City Verfasserin Katja Moritz Angestrebter akademischer Grad Magistra der Philosophie (Mag. phil) Wien, im Oktober 2008 Studienkennzahl lt. Studienblatt: A 317 Studienrichtung lt. Studienblatt: Theater-, Film- und Medienwissenschaft Betreuerin/Betreuer: Ao. Univ.- Prof. Dr. Brigitte Marschall INDEX__________________________________________ 1. PREFACE AND INTRODUCTION …………………………………. Seite 4 2. INTRO: BIG CITY LIFE ……………………………………………... Seite 6 2.1. Introduction New York …………………………………………. Seite 8 3. NEW YORK CITY‘S THEATER ……………………………………. Seite 12 3.1.1. Broadway, Off And Off-Off Broadway: Differences ...………….. Seite 13 4. BROADWAY …………………………………………………………... Seite 16 4.1. New York City’s Broadway – What Is It About? ……………….. Seite 18 4.2. Broadway History: Changes …………………………………….. Seite 21 4.2.1. Early Attraction ……………………………………………………... Seite 21 4.2.2. Broadway 1900 – 1950 ……………………………………………… Seite 24 4.2.3. Broadway 1950 – 2008 ……………………………………………… Seite 26 4.3. Commercial Production: Broadway ……………………………... Seite 27 4.3.1. Broadway Producer: Money Makes The (Broadway) World Go Round ………………….. Seite 29 4.3.2. Critics: Thumbs Up? ………………………………………………… Seite 32 4.3.3. Musical ……………………………………………………………… Seite 33 4.4. Competition Calls For Promotion ……………………………….. Seite 35 4.4.1. Federal Theatre Project 1935 – 1939 ………………………………... Seite 36 4.4.2. Theatre Development Fund TDF ……………………………………. Seite 37 4.4.3. I Love NY …………………………………………………………… Seite 38 4.5. Reflection ………………………………………………………... Seite 39 5. OFF AND OFF-OFF BROADWAY DEVELOPMENT ……………. Seite 41 5.1. Showplace Greenwich Village And East Village ……………….. Seite 41 5.2. Showplace Williamsburg, Brooklyn …………………………….. Seite 45 1 6. OFF BROADWAY AND OFF-OFF BROADWAY – WHAT IS IT ABOUT? ………………………………………………... Seite 47 6.1. First Steps Into Off Broadway …………………………………… Seite 48 6.2. The Real Off Broadway – The 1950s ……………………………. -
NEW AMSTERDAM THEATER, 214 West 42Nd Street, Borough of Manhattan
Landmarks Preservation Commission October 23, 1979, Designation List 129 LP-1026 NEW AMSTERDAM THEATER, 214 West 42nd Street, Borough of Manhattan. Built 1902-03; architects Herts & Tallant. Landmark Site: Borough of Manhattan Tax Map Block 1013, Lot 39. On January 9, 1979, the Landmarks Preservation Commission held a public hearing on the proposed designation as a Landmark of the New Amsterdam Theater and the proposed designation of the related Landmark Site (Item No. 4). The hearing was continued to March 13, 1979 (Item No. 3). Both hearings had been duly advertised in accordance with the provisions of law. A total of 16 witnesses spoke in favor of designation at the two hearings. There were two speakers in opposition to designation. Several letters and statements supporting designation have been received. DESCRIPTION AND ANALYSIS The New Amsterdam Theater, built in 1902-03 for the theatrical producers Klaw & Erlanger, was for many years one of the most pres tigious Time Square theaters and horne of the famous Ziegfeld Follies. Designed by the noted theater architects, Herts & Tallant, the New Amsterdam Theater achieved distinction both for its functions and for its artistic program. More than just a theater, the structure was planned, at the request of Klaw & Erlanger, to incorporate two performing spaces with an office tower to house their varied theatrical interests. Even more importantly, however, the New Amsterdam is a rare example of Art Nouveau architecture in New York City, and, as such, is a major artistic statement by Herts & Tallant. Working in conjunction with sculptors, painters, and other craftsmen, they used the Art Nouveau style to carry out a dual theme--the representation of the spirit of drama and the theater and the representation of New Amsterdam in its historical sense as the city of New York. -
1920 Patricia Ann Mather AB, University
THE THEATRICAL HISTORY OF WICHITA, KANSAS ' I 1872 - 1920 by Patricia Ann Mather A.B., University __of Wichita, 1945 Submitted to the Department of Speech and Drama and the Faculty of the Graduate School of the University of Kansas in partial fulfillment of the requirements for the degree of Master of Arts. Redacted Signature Instructor in charf;& Redacted Signature Sept ember, 19 50 'For tne department PREFACE In the following thesis the author has attempted to give a general,. and when deemed.essential, a specific picture of the theatre in early day Wichita. By "theatre" is meant a.11 that passed for stage entertainment in the halls and shm1 houses in the city• s infancy, principally during the 70' s and 80 1 s when the city was still very young,: up to the hey-day of the legitimate theatre which reached. its peak in the 90' s and the first ~ decade of the new century. The author has not only tried to give an over- all picture of the theatre in early day Wichita, but has attempted to show that the plays presented in the theatres of Wichita were representative of the plays and stage performances throughout the country. The years included in the research were from 1872 to 1920. There were several factors which governed the choice of these dates. First, in 1872 the city was incorporated, and in that year the first edition of the Wichita Eagle was printed. Second, after 1920 a great change began taking place in the-theatre. There were various reasons for this change. -
Guide to the Brooklyn Playbills and Programs Collection, BCMS.0041 Finding Aid Prepared by Lisa Deboer, Lisa Castrogiovanni
Guide to the Brooklyn Playbills and Programs Collection, BCMS.0041 Finding aid prepared by Lisa DeBoer, Lisa Castrogiovanni and Lisa Studier and revised by Diana Bowers-Smith. This finding aid was produced using the Archivists' Toolkit September 04, 2019 Brooklyn Public Library - Brooklyn Collection , 2006; revised 2008 and 2018. 10 Grand Army Plaza Brooklyn, NY, 11238 718.230.2762 [email protected] Guide to the Brooklyn Playbills and Programs Collection, BCMS.0041 Table of Contents Summary Information ................................................................................................................................. 7 Historical Note...............................................................................................................................................8 Scope and Contents....................................................................................................................................... 8 Arrangement...................................................................................................................................................9 Collection Highlights.....................................................................................................................................9 Administrative Information .......................................................................................................................10 Related Materials ..................................................................................................................................... -
Booth Tarkington Playbills Collection 6161
http://oac.cdlib.org/findaid/ark:/13030/c8k079sg No online items Finding aid for the Booth Tarkington playbills collection 6161 Sue Luftschein USC Libraries Special Collections 2018 August Doheny Memorial Library 206 3550 Trousdale Parkway Los Angeles, California 90089-0189 [email protected] URL: http://libraries.usc.edu/locations/special-collections Finding aid for the Booth 6161 1 Tarkington playbills collection 6161 Language of Material: English Contributing Institution: USC Libraries Special Collections Title: Booth Tarkington playbills collection Identifier/Call Number: 6161 Physical Description: 0.9 linear feet.1 box Date (inclusive): 1910-1926 Abstract: This 10 item collection consists of playbills for productions of plays by, or adapted from stories by, Booth Tarkington. Tarkington is best remembered for his Pulitzer Prize-winning novels "The Magnificent Ambersons" and "Alice Adams", and is only one of three American authors to win the Pulitzer Prize for Fiction more than once. Storage Unit: 1 Biographical note Booth Tarkington is best remembered for his Pulitzer Prize-winning novels "The Magnificent Ambersons" and "Alice Adams", and is only one of three American authors to win the Pulitzer Prize for Fiction more than once (the others being William Faulkner and John Updike). Tarkington's work was immensely popular in the 1910s and 1920s. Scope and Contents This 10 item collection consists of playbills for productions of plays by, or adapted from stories by, Booth Tarkington. All productions were at theaters in New York City. Included -
Boston Theatres Collection 1868-1919 Inventory
Boston Theatres Collection 1868-1919 Inventory A selection of late 19th and early 20th century theatre programs from Boston theatres, together with a scrapbook of programs from 1870-1881. 1 scrapbook; 8 files of loose programs; .08 linear metres File #1: Boston Museum* (1870-1881) – 6 items File #2: Boston Theatre* (1869-1883) – 47 items Includes performances by Mlle. Aimeé, Kitty Blanchard, Edwin Booth, Dion Boucicault, Kate Claxton, Charlotte Cushman, Clara Kellogg, Carlotta LeClercq, Frank Mayo, Maggie Mitchell, McKee Rankin, Lydia Thompson, Jennie Van Zandt, the Vokes Family. File #3: Castle Square (1901 and 1912) – 2 items File #4: The Globe* (1879-1880) – 12 items Includes performances by Charlotte Cushman, Carlotta LeClercq, Adelaide Neilson, C.H. Vandengoff. File #5: Howard Athenaeum* (1880) – 1 item File #6: Park Theatre (1881-1910) – 3 items File #7: Plymouth Theatre (1913 and 1919) – 3 items Includes performance of John and Lionel Barrymore. File #8: Selwyn’s (1868) – 1 item Performance of C.H. Vandenhoff Boston Theatres Collection Inventory Page 2 of 4 File #9: Scrapbook (1870-1875) – pages A-38 File#10: Scrapbook (1876-1881) – pages 39-75 Scrapbook includes performances by Mlle Aimée, Emma Albani, Sarah Bernhardt, Dion Boucicault, Charlotte Cushman, Fanny Davenport, Mr. & Mrs. Florence, Edwin Forrest, Haverly’s United Mastodon Minstrels, Mme. Janauschek, Joseph Jefferson, Clara Kellogg, Adelaide Neilson, Vittoria Potentini, George Rignold, Adelaide Ristori, Tommaso Salvini, Mme. Madeline Schiller, Emily Soldene, E.A. Sothern, Theatre Francais, Charlotte Thompson, J.L. Toole, C.H. Vandenhoff, Goerge Vandenhoff, Jennie Van Zandt, the Vokes Family, and Lester Wallack. *see also Scrapbook. The scrapbook and many of the early programs are the gift of Professor Donald Mullin, University of Guelph, 1985 Inventory: A.Goluska, Feb.