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AN ANALYSIS of the LIFE and LEGACY of LOUISA LANE DREW Rivka Kelly University of Vermont

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AN ANALYSIS of the LIFE and LEGACY of LOUISA LANE DREW Rivka Kelly University of Vermont University of Vermont ScholarWorks @ UVM UVM Honors College Senior Theses Undergraduate Theses 2014 THE DUCHESS: AN ANALYSIS OF THE LIFE AND LEGACY OF LOUISA LANE DREW Rivka Kelly University of Vermont Follow this and additional works at: https://scholarworks.uvm.edu/hcoltheses Recommended Citation Kelly, Rivka, "THE DUCHESS: AN ANALYSIS OF THE LIFE AND LEGACY OF LOUISA LANE DREW" (2014). UVM Honors College Senior Theses. 23. https://scholarworks.uvm.edu/hcoltheses/23 This Honors College Thesis is brought to you for free and open access by the Undergraduate Theses at ScholarWorks @ UVM. It has been accepted for inclusion in UVM Honors College Senior Theses by an authorized administrator of ScholarWorks @ UVM. For more information, please contact [email protected]. THE DUCHESS: AN ANALYSIS OF THE LIFE AND LEGACY OF LOUISA LANE DREW A Thesis Presented by Rivka Kelly to The Faculty of the College of Arts and Sciences of The University of Vermont In Partial Fulfillment of the Requirements For the degree of Bachelor of Arts with Honors In Theatre May, 2014 Dedication This thesis is for my wonderful and supportive parents, whose gentle encouragement spurs me on yet reminds me that there are more important things in life than just a paper. Thanks Mom and Dad. And for the Students, Faculty and Staff who have strongly influenced my time here, helping (and sometimes forcing) me to grow personally and academically. I'm especially grateful to Natalie for her example and encouragement, and Avery for his help in the process, and to every single person who listened to me whine about this project. I’m ultimately very glad I did it. ii Acknowledgements I owe my thanks for this paper to the professors who have had the largest influence on my time at The University of Vermont. Dr. Lynne Greeley, without whom I would not have found a love of theatrical history, for her excitement was infectious. And Dr. Melanie Gustafson, without whom there would not be a thesis. Thank you for helping and allowing me to undertake this project. Finally, I would like to thank my thesis advisor, John Forbes, and the chair of the Theatre Department, Gregory Ramos, for sitting on my committee. iii TABLE OF CONTENTS DEDICATION .......................................................................................................................................... II ACKNOWLEDGEMENTS .................................................................................................................. III CHAPTER 1: INTRODUCTION AND HISTORIOGRAPHY ..................................................... 1 HISTORIOGRAPHY .................................................................................................................................................. 5 CHAPTER 2: BACKGROUND AND EARLY LIFE ...................................................................... 9 EARLY LIFE AND PARENTS ................................................................................................................................. 9 EDUCATION .......................................................................................................................................................... 11 AMERICA AND HER STAGE MOTHER ............................................................................................................ 12 TRAVEL TO THE WEST INDIES ........................................................................................................................ 16 CHAPTER 3: COMING OF AGE – THE LEAN YEARS .......................................................... 19 LOUISA BECOMES MRS . HENRY HUNT ........................................................................................................ 21 CHAPTER 4: A STAR IS BORN ....................................................................................................... 23 RETURNING TO PHILADELPHIA ...................................................................................................................... 23 LOUISA ’S SECOND AND THIRD MARRIAGES .............................................................................................. 25 LOUISA ’S CHILDREN ......................................................................................................................................... 27 SETTLING IN PHILADELPHIA ........................................................................................................................... 29 CHAPTER 5: THE ARCH STREET THEATRE .......................................................................... 30 THEATRICAL MANAGEMENT AT THE TIME ............................................................................................... 31 LAURA KEENE ..................................................................................................................................................... 33 LOUISA LANE DREW BECOMES A MANAGER ............................................................................................ 35 CHAPTER 6: BECOMING THE DUCHESS AND MOVING BEHIND THE SCENES... 36 THE DUCHESS ...................................................................................................................................................... 37 FINANCES .............................................................................................................................................................. 38 RENOVATING THE ARCH STREET THEATRE ............................................................................................... 41 CHANGING THE REHEARSAL PROCESS AND BECOMING A ‘T RAINER TO ACTORS ’ ...................... 43 NEW WORKS ........................................................................................................................................................ 46 RESIDENT STOCK SYSTEM ............................................................................................................................... 46 COMBINATION SYSTEM .................................................................................................................................... 47 LOUISA ’S FINAL YEARS ................................................................................................................................... 48 CHAPTER 7: CONCLUSION AND FINAL THOUGHTS ......................................................... 50 APPENDIX: TIMELINE ........................................................................................................................ A BIBLIOGRAPHY ...................................................................................................................................... I BOOKS AND JOURNAL ARTICLES ....................................................................................................................... I NEWSPAPERS ........................................................................................................................................................ VI DISSERTATIONS .................................................................................................................................................... VI WEBSITES ............................................................................................................................................................. VII iv Chapter 1: Introduction And Historiography In August 1861, the Philadelphia Inquirer announced that Mrs. John Drew had become the “lessee” of the city’s Arch Street Theatre. Drew, already a star of the stage, thus added to her responsibilities and began what would be a thirty-one year career working behind the scenes. The Inquirer caught the excitement of this inaugural moment with its description of all the new changes which theatre goers would see when they attended a performance during the newly dubbed “Mrs. John Drew’s Arch Street Theatre.” The owners and “lessee,” (Drew’s new title), had completed $7000 worth of improvements, including separate ticket windows and new entrances to the family circle and amphitheater to reduce the problem of crowding. New seats, “nineteen inches in width, well stuffed, and properly numbered,” had been installed and the walls repapered. At the cost of $150, a roof ventilator had been installed above the thousand-person amphitheater, or gallery, and danger from fire was reduced with the installation of hoses “at various points among the light scenery.” Three hundred women were employed to work in the wardrobe department. Four scene painters had been busy for many months. One set of stage furniture alone cost $400. But the most dramatic change of all, proclaimed the Inquirer , was Drew’s appointment as the theatre’s new “Lessee.” The Arch Street Theatre had entered a new era.1 Louisa Lane Drew’s appointment as the “lessee” not only began a new era in her career and that of the Arch Street Theatre. It also announced a transformation that was just getting underway in the theatre world more generally as “lessees” became managers 1 “The Local Drama,” Philadelphia Inquirer , August 26, 1861. 1 and theatres became businesses. Drew’s influence on this transformation of the theatre’s working life was recognized by her peers. In deference to her formidable skills, people began referring to “Mrs. John Drew, Lessee” as “the Duchess.” When, on the opening night of the 1861 Philadelphia theatre season), Louisa Lane Drew took to the stage, as Lady Teazle in “The School for Scandal,” she immediately captured the audience’s attention and garnered praise for her performance. 2 To understand Drew’s work behind the scenes it is
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