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These recollections of New York theatre life from the 1830s-1850s are selected from "Reminiscences of a Man About Town," a series of articles by Col. Tom Picton published in the New York Clipper between 1868-69. The impressions of the time are made vividly real from the actual experiences of the writer, who often mingled with the performers and directors. Complete with notes, index, and contemporaneous illustrations.
From Rags to Ricketts and Other Essays on Circus History by William L. Slout Pdf
William L. Slout, circus historian par excellence, here provides six essays on the development of the American circus. "From Rags to Ricketts: The Roots of Circus in Early Gotham" looks at the beginnings of circus entertainment in old New York City during the eighteenth century. "The Great Roman Hippodrome of 1874: P. T. Barnum's 'Crowning Effort'" describes the great showman's grand experiment: the collection and display in the Big Apple of the "largest collection of living wild animals in the world." "The Recycling of the Dan Rice Paris Pavilion Circus" tells the story of an American circus entrepreneur who took his traveling show to Europe in 1867. "Strange Bedfellows: The Pogey O'Brien Interval, 1874-1875" relates how O'Brien partnered with P. T. Barnum to take the circus master's show on the road while Barnum was creating his "Great Roman Hippodrome." "Two Rings and a Hippodrome Track" demonstrates that the first two-ring circus mounted by Barnum (or anyone else) occurred in 1873, and not 1872, as previously supposed. Finally, "The Adventures of James M. Nixon, Forgotten Impresario," describes the career of a major circus manager who worked between the 1843-75, directly competing with Barnum for the same audience--and eventually losing the struggle. Slout’s vivid accounts, highlighted by contemporaneous newspaper accounts of the excitement generated locally by these traveling shows, help bring a long-forgotten era alive again.
This modern comedy highlights the clash between Denver Littlefield, a history professor at a California University, and his actress wife, Sarah Coleman, whose sudden surge in popularity after being cast in a popular soap opera threatens to swamp her husband's image and career.
This is the story of the survival of American circuses throughout one of the most perilous periods in our nation's history: 1860-1865. This was a period of transition for traveling exhibitions. The size of equipment and personnel had leveled off, performances were fixed, and the number of proprietors had reached a peak that would not be exceeded until the early 1870s. But still the show had to go on! Complete with notes, index, bibliography, and contemporaneous illustrations.
En Route to the Great Eastern Circus and Other Essays on Circus History by William L. Slout Pdf
William L. Slout, entertainment historian par excellence, here provides five fascinating essays on the development of the American traveling circus in the post-Civil War era: "En Route to the Great Eastern Circus" (on the creation of this great show); "The Great Eastern Circus of 1872" (more details about one of P. T. Barnum's rivals); "The Not-So-Great Trans-Atlantic Circus and Menagerie" (how a show failed suddenly in a yellow fever epidemic); "What Goes Up...Comes Down" (how balloning became part of the circus environment); and "The Chicken or the Egg?" (on the first development of the double-ring act pioneered by Barnum and others). These vivid essays, highlighted by numerous contemporaneous excerpts from local newspapers, help bring a long-forgotten era alive again.
Champagne Charlie and Pretty Jemima by Gillian M Rodger Pdf
In this rich, imaginative survey of variety musical theater, Gillian M. Rodger masterfully chronicles the social history and class dynamics of the robust, nineteenth-century American theatrical phenomenon that gave way to twentieth-century entertainment forms such as vaudeville and comedy on radio and television. Fresh, bawdy, and unabashedly aimed at the working class, variety honed in on its audience's fascinations, emerging in the 1840s as a vehicle to accentuate class divisions and stoke curiosity about gender and sexuality. Cross-dressing acts were a regular feature of these entertainments, and Rodger profiles key male impersonators Annie Hindle and Ella Wesner while examining how both gender and sexuality gave shape to variety. By the last two decades of the nineteenth century, variety theater developed into a platform for ideas about race and whiteness. As some in the working class moved up into the middling classes, they took their affinity for variety with them, transforming and broadening middle-class values. Champagne Charlie and Pretty Jemima places the saloon keepers, managers, male impersonators, minstrels, acrobats, singers, and dancers of the variety era within economic and social contexts by examining the business models of variety shows and their primarily white, working-class urban audiences. Rodger traces the transformation of variety from sexualized entertainment to more family-friendly fare, a domestication that mirrored efforts to regulate the industry, as well as the adoption of aspects of middle-class culture and values by the shows' performers, managers, and consumers.
Female-to-male crossdressing became all the rage in the variety shows of nineteenth century America, and began as the domain of mature actresses who desired to extend their careers. These women engaged in the kinds of raucous comedy acts usually reserved for men. Over time, as younger women entered the specialty, the comedy became less pointed, and came to center on the celebration of male leisure and fashion. Gillian M. Rodger uses the development of male impersonation from 1820 to 1920 to illuminate the history of the variety show. Exploding notions of high- and lowbrow entertainment, Rodger looks at how both performers and forms consistently expanded upward toward respectable ”and richer ”audiences. At the same time, she illuminates a lost theatrical world where women made fun of middle class restrictions even as they bumped up against rules imposed in part by audiences. Onstage, the actresses' changing performance styles reflected gender construction in the working class and shifts in class affiliation by parts of the audiences. Rodger observes how restrictive standards of femininity increasingly bound male impersonators as new gender constructions allowed women greater access to public space while tolerating less independent behavior from them.
Bloody Tyrants and Little Pickles by Marlis Schweitzer Pdf
Bloody Tyrants and Little Pickles traces the theatrical repertoire of a small group of white Anglo-American actresses as they reshaped the meanings of girlhood in Britain, North America, and the British West Indies during the first half of the nineteenth century. It is a study of the possibilities and the problems girl performers presented as they adopted the manners and clothing of boys, entered spaces intended for adults, and assumed characters written for men. It asks why masculine roles like Young Norval, Richard III, Little Pickle, and Shylock came to seem “normal” and “natural” for young white girls to play, and it considers how playwrights, managers, critics, and audiences sought to contain or fix the at-times dangerous plasticity they exhibited both on and off the stage. Schweitzer analyzes the formation of a distinct repertoire for girls in the first half of the nineteenth century, which delighted in precocity and playfulness and offered up a model of girlhood that was similarly joyful and fluid. This evolving repertoire reflected shifting perspectives on girls’ place within Anglo-American society, including where and how they should behave, and which girls had the right to appear at all.
"Between consolidation and the end of World War One, New York was transformed and transforming, mirroring the juggernauting dynamism of the country at large--and largely fueling it. The names of two of its streets encapsulate the degree of the city's preeminence: Wall Street and Broadway. [This book] reveals the workings of the city's consolidation; the emerging hegemony of its financial markets, which effectively reconstructed U.S. capitalism; the influx of migrants from other continents and from the American South; the development of its massive infrastructure--subways and waterways and electrical grid; and New York's growing dominance over the arts, media, and entertainment"--Provided by publisher.
Ellen Hart Presents Malice Domestic 15: Mystery Most Theatrical by Anne Louise Bannon,Karen Cantwell,Margaret Lucke,M. E. Browning Pdf
The Malice Domestic anthology series returns with a new take on mysteries in the Agatha Christie tradition—original tales with a theatrical bent! Included are: Preface, by Ellen Hart The Rock Star, by Frances Aylor Perfectly Awry, by Anne Louise Bannon The Ghost in Balcony B, by Michele Bazan Reed Drama-Rama Flip Flop, by Cindy Brown It’s Not O.K. Corral, by M. E. Browning Mary-Alice Imagines Her Life as a Movie, by Karen Cantwell The Ghost of Hamnet, by R. M. Chastleton When the Wind is Southerly, by Leone Ciporin Raising Cain, by Carla Coupe Death of Another Hero, by Susan Daly The Stars Are Fire, by Phillip DePoy Death Plays the Palace, by Margaret Dumas The Homicidal Understudy, by Elizabeth Elwood No Final Act, by Daryl Wood Gerber Deus Ex Machina, by B. J. Graf The Nine Deaths in Hamlet?, by A. P. Jamison Heat Wave, by Maureen Jennings Thus With a Kiss, by Margaret Lucke Such Tricks As These, by Jaquelyn Lyman-Thomas Final Curtain, by Sharon Lynn The Mask, by Cheryl Marceau The Ultimate Tie-Breaker, by Deborah Maxey True Crime, by Adam Meyer A Star Goes Dark, by Raquel V. Reyes Not Your Lolita, by Merrilee Robson A Death in Shubert Alley, by Lee Sauer Dance on Fire, by Shawn Reilly Simmons Missed Cue, by Lynn Slaughter You Know How Actresses Are, by C. M. Surrisi Five Words, by Elaine Togneri Ask Fred the Usher, by Arthur Vidro Death Takes a Bow, by Mo Walsh Deal With the Devil, by James Lincoln Warren Method for Murder, by Carol L. Wright
