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The Theatrical Career of Anna Elizabeth Dickinson

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The Theatrical Career of Anna Elizabeth Dickinson ABSTRACT Title of Dissertation: NOTHING LADYLIKE ABOUT IT: THE THEATRICAL CAREER OF ANNA ELIZABETH DICKINSON Stacey A. Stewart, Doctor of Philosophy, 2004 Dissertation directed by: Dr. Catherine Schuler, Department of Theatre In 1864, at the height of the Civil War, twenty -one year old Anna Elizabeth Dickinson (1842-1932) stood in the House of Representatives, before Congress, the Cabinet, and the Supreme Court, and lambasted President Lincoln for his compassion toward the South. She was the first woman ever to speak before Congress. Her performance earned her the title “America’s Joan of Arc,” and she went on to become one of the nation’s most famous, most popular, and most highly -paid orators. Abolitionists, suffragists, and powerf ul political parties sought to make her the spokesperson for their causes. When the lecture circuit dried up in the wake of the war, Dickinson—flying in the face of her Philadelphia Quaker upbringing —realized a lifelong ambition to go on the stage. Lacking both theatrical training and experience, Dickinson nevertheless wrote a play, Anne Boleyn, or, A Crown of Thorns, and attempted its title role. Although many newspapers were generous, the powerful New York critics were merciless in their condemnation of both play and player. But Dickinson continued to pursue a career in the theatre, writing a half -dozen plays and acting in several —most notably, a controversial performance as Hamlet in 1882. Having risen to fame as a public speaker while protected by her Quaker heritage and her youth, Dickinson became a troubling figure once she appeared on a theatrical stage. I argue that Dickinson’s attempt to establish herself in the theatrical world can be seen as a manifestation of a larger quest for citizenship —for full participation in American culture and society. Through her playwriting, Dickinson both consciously re - visioned patriarchal history and challenged conventional notions of appropriate feminine behavior. As an actress, she sought to communicate origin al ideas about character through carefully considered interpretations. As a woman working in the theatre, she demanded satisfactory compensation and working conditions without regard to the norms of the profession—norms that did not accommodate a woman wi th her goals and expectations (however unrealistic). In a period when “True Women” were expected to be passive and private, Dickinson was aggressive and obstinately public. And there was nothing ladylike about it. NOTHING LADYLIKE ABOUT IT: THE THEATRICAL CAREER OF ANNA ELIZABETH DICKINSON By Stacey A. Stewart Dissertation submitted to the Faculty of the Graduate School of the University of Maryland, College Park in partial fulfillment of the requirements for the degree of Doctor of Philosophy 2004 Advisory Committee: Dr. Catherine Schuler, Chair Dr. Jackson Bryer Dr. Gay Gibson Cima Dr Gay Gullickson Dr. Heather Nathans ©Copyright by Stacey A. Stewart 2004 Table of Contents INTRODUCTION .............................................................................................................. 1 A Note About Sources .............................................................................................. 15 CHAPTER 1: AMERICA’S JOAN OF ARC .................................................................. 19 The Beginnings ......................................................................................................... 22 The Stump ................................................................................................................. 28 The National Platform ............................................................................................... 31 Women’s Rights................................ ........................................................................ 37 The Speeches ............................................................................................................ 43 The Substance ........................................................................................................... 44 The Style ................................................................................................................... 50 The Pr ofessional Lecturer ......................................................................................... 59 From Rhetoric to Drama: Jeanne D’Arc .................................................................. 64 Conclusion ................................................................................................................ 72 CHAPTER 2: NEW WOMEN OR TRUE WOMEN? THREE AMERICAN PLAYS ..76 Which Will Take Best With the Public?: Anne Boleyn, or, A Crown of Thorns..... 78 Motives and Goals .................................................................................................... 89 Anne Boleyn as “True Woman”? ............................................................................. 92 In Which Will I Play Best?: Aurelian , or Rome’s Restorer ................................... 104 Roman Emperor or American Hero? ...................................................................... 112 Women of Rome: “True” or False? ....................................................................... 116 Which Will Suit Me the Best?: An American Girl ................................................ 124 Kate Vivian or Anna Dickinson: Whose Theatrical Debut? .................................. 139 Which will take best with the public, in which will I play best, & which will suit me the best? .................................................................................................................. 147 CHAPTER 3: PRESUMPTUOUS IN COMPETENCE ................................................. 150 “An Event of Peculiar Significance” ...................................................................... 154 Hamlet ..................................................................................................................... 180 “The Worst Hamlet in the World”.......................................................................... 185 Anna Dickinson: Actress ....................................................................................... 207 The Female Voice ................................................................................................... 214 Intellect vs. Emotionalism ...................................................................................... 218 CHAPTER 4: NOTHING LADYLIKE ABOUT IT ..................................................... 228 An American Girl .................................................................................................... 231 Nego tiations ............................................................................................................ 233 Rehearsal ................................................................................................................. 248 The Response .......................................................................................................... 254 Bid for Breeches ..................................................................................................... 263 ii Conclusions............................................................................................................. 284 Epilogue .................................................................................................................. 289 CONCLUSION ............................................................................................................... 290 APPENDIX A: Davenport contract ............................................................................... 298 APPENDIX B: Anna E. Dickinson chronology……………………………………….300 BIBLIOGRAPHY ........................................................................................................... 301 List of Figures “Anna Dickinson Chastises the Boys”……………………………………………….…178 Photograph of Anna Dickinson as Hamlet……………………………………...………205 Sketch of Anna Dickinson as Hamlet………………………………………….…….…206 iii INTRODUCTION In 1864, at the height of the Civil War, twenty -one year old Anna Elizabeth Dickinson (1842-1932) stood in the House of Representatives, before Congress, the Cabinet, and the Supreme Court, and lambasted President Lincoln for his compassion toward the South. The solution to the bloody conflict, she declared, was not compromise but unequivocal victory in battle. She was the first woman ever to speak before Congress. Her performance earned her the title “America’s Joan of Arc,” and she went on to become one of the nation’s most famous, most popular, and most highly -paid orators. Abolitionists, suffragists, and powerful political parties sought to make her the spokesperson for their causes. When she toured cross -country on the professional lecture circuit, all of her speeches were devoted to variations on the same topic : “universal freedom, universal suffrage, and universal justice.”1 When the lecture circuit dried up in the wake of the war, Dickinson—flying in the face of her Philadelphia Quaker upbringing —realized a lifelong ambition to go on the stage. Lacking both theatrical training and experience, Dickinson nevertheless wrote a play, Anne Boleyn, or, A Crown of Thorns, and attempted its title role. The Daily Graphic described her theatrical debut on 8 May 1876 as the “greatest event of the dramatic season in Boston.”2 The Evening Transcript observed, “Were a play by Anna Dickinson to be performed, without Miss Dickinson involved except as author, the event 1 Giraud Chester, Embattled Maiden: The Life of Anna Dickinson
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