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Appendix: Famous Actors/ Actresses Who Appeared in Uncle Tom's Cabin

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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 . George Howard, 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 . Harry Birdoff, 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 . 17 . James Brewer Stewart, 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 . 22 . Gillian Brown, 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. 25 . Ibid., p. xx. 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.
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  • Joe Jefferson Players Scrapbooks

    Joe Jefferson Players Scrapbooks

    Guide to the Joe Jefferson Players Scrapbooks Descriptive Summary: Creator: Jeanette Maygarden Title: Joe Jefferson Players Scrapbooks Dates: 1947-2006 Quantity: 9.7 linear feet Abstract: A collection of scrapbooks containing material related to the theatrical performances of the Joe Jefferson Players. Accession: 00-08-365 ; 365-2000 Biographical Note: In 1947 a small group of Mobilians, intent on restoring the city's waning theatre activity after the depression and war years, initiated the Joe Jefferson Players. Successful in their efforts, the Players were in possession of their own permanent playhouse by 1949 and by 1961 membership totaled over 1000. By 1967 the membership limit was raised to 2000, and continued popularity demanded the expansion of an already once-rebuilt playhouse in the same year. Despite the challenges of subsequent years: hurricanes, financial difficulties, and increasing competition from other sources of local live entertainment, the Joe Jefferson Players remain active to this day, having finished their fifty-ninth season at the time this guide was written. The Joe Jefferson Players took their name from prominent nineteenth-century actor Joseph Jefferson III (1829-1905), a man born into a family of notable actors and theatre workers. Starting at the age of four, Joe devoted the next seventy-two years of his life to the theatre, traveling around the world from London to New Zealand and performing a variety of roles, the most notable of which is undoubtedly his portrayal of "Rip Van Winkle." In 1893 he succeeded Edwin Booth as president of the Players Club, a national organization, making him the acknowledged head of American actors.