Theatricals in Philadelphia" Scrapbooks Ms
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83550NCJRS.Pdf
If you have issues viewing or accessing this file contact us at NCJRS.gov. .-. --.-..--------- -- " , ~, -' . ~ 0'-;,0 , ..... ' . , '..;:- .' : " --r ,. .. ' . ;,.,..'. .,t' " ., ~ /1 '"fY) " --~~ '/ ' , ~ ., , r- . .;~ I ... ~",,--,.-.-'---' -...,...,----- '..,......., --"" -~- . ,-, ,:' ); "~ ,,,";~r .•. t:-- ' ":","-,,f,(., .), " ,~ /': ~~.,y'~" ~............ ----------------~.-~------------------------------------~----------~----------~ ----~-------------------- - -s-- !1 ) ~) ~ i ,';' ~ : 'THE CORRECTIOnS PROGRAr1 A "Corrections Program" within the Office of Vocational and Adult Education has been established by the Department of Education. The National Institute of Corrections has provided senior level staffing through a cooperative grant as their commitment to this new corrections initiative. A FOR CORRECTIONAL The overall goal of this joint effort is to increase the quality and quantity of ~ECTORY education and training opportunities for adult and juvenile offenders. In order to EDUCATION ADMINISTRATORS reach this goal, the Corrections Program wlll.;nitiate a variety of liaison, technical assistance and clearinghouse activities, includi'ng: 1. Coordinate existing ED funding programs which could benefit corrections. 2. Coordinate ED programs with those of other federal agencies such as the Departments of Labor, Justice, Health and Human Services, Housing and U.S. Department of Justice Urban Development, Veterans' Administratio~, and the Military Services. National Institute of Justice This document has been reproduced exactly -
John Mccullough As Man, Actor and Spirit
John McCullough AS Man, Actor and Spirit BY SUSIE C. CLARK Author of "A Look Upward," "Pilate's Query," etc. " Thou art " mighty yet! Thy spirit walks abroad." Julius C&sar WITH ILLUSTRATIONS BOSTON MURRAY AND EMERY COMPANY 1905 VIRGINIUS FA/ . Copyright in 1905 by SUSIE C. CLARK. All rights reserved. INSCRIBED WITH REVERENT LOVE TO THE FA.DELESS MEMORY OF Cental 3nlftt CONTENTS. Chapter I. Introductory 9 II. The Dawn 15 III. The New World 23 IV. The Open Door 29 V. The Golden Gate 39 VI. The Golden Gate (Continued) 53 VII. In Other Fields 61 VIII. McCullough in Boston ' 75 IX. In the Metropolis 92 X. In the Metropolis (Continued) 104 XI. His Greatest Role Ill XII. His Wide Travels 124 XIII. Four Notable Banquets 136 XIV. A Sketch from His Pen 153 XV. Twilight 167 XVI. Sunrise 182 XVII. Impressive Obsequies 200 XVIII. Further Tributes 221 XIX. Final Honors 229 XX. Beyond the Bar 249 XXI. The Next Act in Life's Drama 259 XXII. His Public Work 269 XXIII. Class Work 286 XXIV. As Message Bearer 302 XXV. Reminiscences 310 XXVI. Spiritual Reveries 323 XXVII. Personal 334 XXVIII. The Voice of the Stars. 345 ILLUSTRATIONS. Virginius Frontispiece Coriolanus 82 Spartacus 174 McCullough Memorial 232 Virginius 266 JOHN McCuLLoucH AS MAN, ACTOR AND SPIRIT CHAPTER I. INTRODUCTORY. The harp that once thro' Tara's halls The soul of music shed Now hangs as mute on Tara's walls As if that soul were fled. So sleeps the pride of former days, So glory's thrill is o'er, And hearts that once beat high for praise Now feel that pulse no more." Thomas Moore, Fair Emerald Isle! In verdure clad, thy banks and hills still cheer the eyes of "weary, homesick men far out at sea." Fain would they, as Columbus did of yore, on a Western shore, kneel and kiss thy fair, green sod, which affords the first welcome glimpse of land. -
Theatrical Personalities of Old St. Paul Franj^ M
MINNESOTA HISTORY VOLUME 23 • PUBLISHED IN DEC 1942 • NUMBER 4 Theatrical Personalities of Old St. Paul FranJ^ M. Whiting ACCORDING TO veteran troupers of the modern theater, there are three bad weeks in the show business — Christmas week. Holy week, and St. Paul. Whether Minnesota's capital city deserves such a reputation is largely a matter of opinion, for there is evidence that poor and mediocre companies have often played to empty theaters in St. Paul, while productions of outstanding merit draw packed houses. What ever St. Paul's present reputation may be, this much is certain — skepticism regarding the city's ability to support the theater did not arise until after the 1850's, for during that feverish decade St. Paul was one of the best towns for summer theatricals in the entire na tion. The financial boom, the flood of summer immigrants, the terri tory's reputation as an ideal vacation spot, and the Mississippi, which provided steamboat transportation for theatrical troupes from St. Louis, New Orleans, and Cincinnati, seem to have been primarily responsible for the theatrical prosperity of the period. At the same time the contributions of a few outstanding personalities should not be overlooked, for without them the first chapter in St. Paul's the atrical history would lose much of its color and fascination. Perhaps the first to deserve mention is none other than the fron tier Jack-of-all-trades, Joseph R. Brown. His achievements as a fur trader, lumberman, land speculator, legislator, politician, newspaper editor, inventor, and founder of cities are well known, but his unique place as an actor has been overlooked. -
16 043539 Bindex.Qxp 10/10/06 8:49 AM Page 176
16_043539 bindex.qxp 10/10/06 8:49 AM Page 176 176 B Boston Public Library, 29–30 Babysitters, 165–166 Boston Public Market, 87 Index Back Bay sights and attrac- Boston Symphony Index See also Accommoda- tions, 68–72 Orchestra, 127 tions and Restaurant Bank of America Pavilion, Boston Tea Party, 43–44 Boston Tea Party Reenact- indexes, below. 126, 130 The Bar at the Ritz-Carlton, ment, 161–162 114, 118 Brattle, William, House A Barbara Krakow Gallery, (Cambridge), 62 Abiel Smith School, 49 78–79 Brattle Book Shop, 80 Abodeon, 85 Barnes & Noble, 79–80 Brattle Street (Cambridge), Access America, 167 Barneys New York, 83 62 Accommodations, 134–146. Bars, 118–119 Brattle Theatre (Cambridge), See also Accommodations best, 114 126, 129 Index gay and lesbian, 120 Bridge (Public Garden), 92 best bets, 134 sports, 122 The Bristol, 121 toll-free numbers and Bartholdi, Frédéric Brookline Booksmith, 80 websites, 175 Auguste, 70 Brooks Brothers, 83 Acorn Street, 49 Beacon Hill, 4 Bulfinch, Charles, 7, 9, 40, African Americans, 7 sights and attractions, 47, 52, 63, 67, 173 Black Nativity, 162 46–49 Bunker Hill Monument, 59 Museum of Afro-Ameri- Berklee Performance Center, Burleigh House (Cambridge), can History, 49 130 62 African Meeting House, 49 Berk’s Shoes (Cambridge), Burrage Mansion, 71 Agganis Arena, 130 83 Bus travel, 164, 165 Air travel, 163 Big Dig, 174 airline numbers and Black Ink, 85 C websites, 174–175 Black Nativity, 162 Calliope (Cambridge), 81 Alcott, Louisa May, 48, 149 The Black Rose, 122 Cambridge Common, 61 Alpha Gallery, 78 Blackstone -
Historic Resource Survey Form ER# 2004-8006-101 Key# PENNSYLVANIA HISTORICAL and MUSEUM COMMISSION Bureau for Historic Preservation
ZcZ7 Historic Resource Survey Form ER# 2004-8006-101 Key# PENNSYLVANIA HISTORICAL AND MUSEUM COMMISSION Bureau for Historic Preservation Name, Location and Ownership (Items 1-6; see Instructions, page 4) HISTORIC NAME Port Richmond Historic District CURRENT/COMMON NAME STREET ADDRESS ZIP LOCATION Port Richmond Neighborhood in Northeast Philadelphia MUNICIPALITY Philadelphia COUNTY Philadelphia TAX PARCEL #IYEAR Multiple USGS QUAD Camden NJ-PA OWNERSHIP Private Public/Local E Public/County LI Public/State LI Public/Federal OWNER NAME/ADDRESS Multiple CATEGORY OF PROPERTY LI Building fl Site 0 Structure 0 Object Z District TOTAL NUMBER OF RESOURCES Function (Items 7-8; see Instructions, pages 4-6) Historic Function Subcategory Particular Type Domestic Single Dwelling Rowhomes Domestic Multiple Dwelling Apartments Education School Religion Religious Structure Churches Commerce/Trade Business Current Function Subcategory Particular Type Domestic Single Dwellin Rowhomes Domestic Multiple Dwelling Apartments Education School Religion Religious Structure Churches Commerce/Trade Business Architectural/Property Information (Items 9-14; see Instructions, pages 6-7) ARCHITECTURAL CLASSIFICATION Late Victorian Vernacular Gothic Revival Italian Renaissance EXTERIOR MATERIALS and STRUCTURAL SYSTEM Foundation Walls Brick Roof Asphalt Other Structural System Brick WIDTH (feet) or (# bays) DEPTH ______(feet) or (# rooms) STORIES/HEIGHT Key #_______________ ER# 2004-8006-101 Property Features (Items 15-17; see Instructions, pages 7-8) Setting Urban neighborhood Ancillary Features Acreage 340 (round to nearest tenth) I Historical Information (Items 18-21; see Instructions, page 8) Year Construction Began 1682 0 Circa Year Completed iQ M Circa Date of Major Additions, Alterations 1842 Li Circa 1959 Li Circa Li Circa Basis for Dating Z Documentary 0 Physical Explain Based on historic maps and aerial photographs, primary and secondary sources, and an examination of the resource. -
Lincoln Preview Layout 1
The Play that Shot LINCOLN By Ed Sams YELLOW TULIP PRESS WWW.CURIOUSCHAPBOOKS.COM Copyright 2008 by Ed Sams All rights reserved. No part of this book may be reproduced without written permission from the publisher, except by reviewers who may quote brief passages in a review. Nor may any part of this book be reproduced, stored ina retrieval system, or transmitted in any form or by any means electronic, mechanical, photocopying, recording, or other without written permission from the publisher. Published by Yellow Tulip Press PO Box 211 Ben Lomond, CA 95005 www.curiouschapbooks.com America’s Cousin Our American Cousin is a play everyone has heard of but nobody has seen. Once the toast of two continents, the British comedy played to packed houses for years from 1858 to 1865 until that bloody night on April 14, 1865, when John Wilkes Booth made his impromptu appearance on stage during the third act. The matinee idol and national celebrity Booth brought down the house by firing two shots from a lady’s derringer into the back of the head of President Abraham John Wilkes Booth Lincoln. Though the Presidential box hung nearly twelve feet above the stage, Booth at- tempted on a melodramatic leap, and “in his long leap to the stage...the assassin caught his foot in the Treasury Guard flag...and broke his leg” (Redway & Bracken 103). John Wilkes Booth managed to make a successful exit off stage, but his fellow Thespians were not so lucky. Harry Hawk, who played Asa Tren- chard, the American cousin, was still on stage when Booth leapt from the Presidential box. -
Philadelphia City Guide Table of Contents
35th ANNUAL MEETING & SCIENTIFIC SESSIONS Philadelphia PHILADELPHIA MARRIOTT DOWNTOWN 1201 MARKET ST, PHILADELPHIA, PA 19107 APRIL 23-26, 2014 Philadelphia City Guide TABLE OF CONTENTS I. LOCAL ARRANGEMENTS COMMITTEE ......................................................................................................................3 II. OVERVIEW .......................................................................................................................................................................3 III. WEATHER ........................................................................................................................................................................3 IV. GETTING AROUND .......................................................................................................................................................3 A. From the Airport .........................................................................................................................................................3 B. Around the City ..........................................................................................................................................................3 V. SAFETY .............................................................................................................................................................................4 VI. NEIGHBORHOODS .........................................................................................................................................................4 -
[, F/ V C Edna Hammer Cooley 1986 APPROVAL SHEET
WOMEN IN AMERICAN THEATRE, 1850-1870: A STUDY IN PROFESSIONAL EQUITY by Edna Hammer Cooley I i i Dissertation submitted to the Faculty of the Graduate School of the University of Maryland in parti.al fulfillment of the requirements for the degree of Doctor of Philosophy ~ /, ,, ·' I . 1986 I/ '/ ' ·, Cop~ I , JI ,)() I co uI (~; 1 ,[, f/ v c Edna Hammer Cooley 1986 APPROVAL SHEET Title of Dissertation: Women in American Theatre, 1850-1870: A Study in Professional Equity Name of Candidate: Edna Hammer Cooley Doctor of Philosophy, 1986 Dissertation and Approved: Dr. Roger Meersman Professor Dept. of Communication Arts & Theatre Date Approved: .;;Jo .i? p ,vt_,,/ /9Y ,6 u ABSTRACT Title of Dissertation: Women in American Theatre, 1850- 1870~ A Study_ in Professional Equi!:Y Edna Hammer Cooley, Doctor of Philosophy, 1986 Dissertation directed by: Dr. Roger Meersman Professor of Communication Arts and Theatre Department of Communication Arts and Theatre This study supports the contention that women in the American theatre from 1850 to 1870 experienced a unique degree of professional equity with men in the atre. The time-frame has been selected for two reasons: (1) actresses active after 1870 have been the subject of several dissertations and scholarly studies, while relatively little research has been completed on women active on the American stage prior to 1870, and (2) prior to 1850 there was limited theatre activity in this country and very few professional actresses. A general description of mid-nineteenth-century theatre and its social context is provided, including a summary of major developments in theatre in New York and other cities from 1850 to 1870, discussions of the star system, the combination company, and the mid-century audience. -
Cabot Corporation
CASE........................................................................................................................................................... STUDY: MARKET NICHE Rubber Chemicals ........................................................................................................................................................... POSITION NICHE R&D ........................................................................................................................................................... JOB TITLE Applications Development Manager ........................................................................................................................................................... CLIENT Cabot Corporation ........................................................................................................................................................... COMPANY Cabot Corporation POSITION Applications Development Manager LOCATION Boston, MA For more information contact: Patrick Ropella President & CEO Ropella 850-983-4997 [email protected] Cabot Corporate Headquarters ROPELLATM GROWING GREAT COMPANIES 8100 Opportunity Drive, Milton, Florida 32583 850-983-4777 | www.ropella.com Cabot Corporation 2 Applications Development Manager Company Information Cabot Corporation Cabot Corporation is a global leader in the specialty chemicals and performance More Information: solutions industry with more than 130 www.cabotcorp.com years of experience and approximately 4,600 employees working in 21 countries. -
SPRING 1974 69 Italian Dramatic Companies and the Peruvian Stage
SPRING 1974 69 Italian Dramatic Companies and the Peruvian Stage in the 1870's ENRICA JEMMA GLICKMAN II [Part I of this article appeared in the previous issue of the Latin American Theatre Review.] Celestina Paladini Ernesto Rossi never returned to Lima; however, some members of his com pany did. Prompted by pleasant memories of personal recognition during the 1872 season and by the hope of new financial successes—this time for their own exclusive benefit—they joined with other actors and, headed by Celestina Paladini, made their debut at the Teatro Principal on January 31,1874. The case of a group of actors separating from a large, well-known company to form a new one was quite frequent both in Europe and in South America. In Peru this practice mainly involved Spanish and Peruvian actors; speaking the same language, they could, and did, freely regroup themselves almost at every new season. Moreover, they seemed to be versatile enough to be able to pass from drama to zarzuela—although less frequently from zarzuela to drama—which makes it rather difficult to follow their movements over a number of years. In Italy, the multiplication of companies by secession of members was also very common. In his autobiographical work Quarant'anni di vita artística, written towards the end of his long career, Ernesto Rossi expressed his concern for the Italian dramatic art which, in his opinion, was then in a critical condition. Among the principal causes of its decadence, Rossi identified the enormous in crease in the number of dramatic companies which -
Direct PDF Link for Archiving
Baird Jarman Quick as a Flash: Victor Collodion and the Development of the Lightning Artist Nineteenth-Century Art Worldwide 19, no. 2 (Autumn 2020) Citation: Baird Jarman, “Quick as a Flash: Victor Collodion and the Development of the Lightning Artist,” Nineteenth-Century Art Worldwide 19, no. 2 (Autumn 2020), https:// doi.org/10.29411/ncaw.2020.19.2.3. Published by: Association of Historians of Nineteenth-Century Art Notes: This PDF is provided for reference purposes only and may not contain all the functionality or features of the original, online publication. License: This work is licensed under a Creative Commons Attribution-NonCommercial 4.0 International License Creative Commons License. Jarman: Quick as a Flash: Victor Collodion and the Development of the Lightning Artist Nineteenth-Century Art Worldwide 19, no. 2 (Autumn 2020) Quick as a Flash: Victor Collodion and the Development of the Lightning Artist by Baird Jarman On the day after Christmas in 1872, a French caricaturist known as Victor Collodion, recently banned in Paris for mocking the president of France, debuted on the London stage. Speaking no English and appearing only momentarily amid a four-hour extravaganza, he became a surprise overnight sensation. A show bill featuring his self-portrait preserves perhaps the sole visual record of his popular act (fig. 1). Garbed in knee-high leather boots, a velvet jacket with diamond-slit sleeves, flaring lace cuffs, and a wide-brimmed hat with a feather plume atop a long mane of flowing hair, Collodion exuded the swashbuckling bravado of an Ancien-Régime guardsman, though armed with drawing charcoal rather than a sword. -
BEAVERT SYMPHONY Travis Hatton, Music Director
BEAVERT SYMPHONY Travis Hatton, Music Director Young Artists Concert: Rising Stars SVOBODA TCHAI Aishani Saha Natalie Tan Kira Wang 7:30pm Friday, May 18, 2018 3:00pm Sunday, May 20, 2018 beavertonsymphony.org 1-855-HEARBSO (1-855-432-7276) The Composers Greg Bartholomew Frédéric Chopin Leo Delibes Benjamin Britten Luigi Arditi Antonin Dvořák Jean Sibelius Beaverton Symphony Orchestra Travis Hatton, Music Director Greg Bartholomew Sunshine Music (2011) b. 1957 Sunshine in the Dooryard: Homage to a melody by David Paul Mesler Sunshine in the City Sunshine in the Mountains Antonin Dvořák Cello Concerto in b minor, Op. 104 – 3rd movement 1840 –1904 Kira Wang, cello Léo Delibes Les Filles de Cadix (1874) 1836 –1891 Benjamin Britten Be Kind and Courteous 1913 – 1976 from A Midsummer Night’s Dream Luigi Arditi Il Bacio (The Kiss) (1860) 1822 – 1903 Aishani Saha, soprano Frédéric Chopin Piano Concerto No. 2 in f minor, Op. 21 – 3rd movement 1810 –1849 Natalie Tan, piano Intermission Jean Sibelius Symphony No. 1 in e minor, Op. 39 (1899) 1865 –1957 Andante ma non troppo – Allegro energico Andante (ma non troppo lento) Scherzo: Allegro Finale (Quasi una fantasia) Our Young Artists Aishani Saha, soprano, is a 17 year old senior at Westview High School. She has been studying voice with Angela Niederloh for 4 years. Aishani is the 2017 State Champion in the Soprano Voice division of the OSAA Solo/Ensemble Competition. She got 2nd place in the 2016 State Competition. She was also a winner of the 2017 MetroArts Van Buren Young Artists Debut Competition. Aishani won 3rd place in the 2017 Schmidt Vocal Competition NW Region.