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Documenting the evolution of the American movie theatre and exploring its role in American culture and architecture, this work focuses on the career of S. Charles Lee, who designed more than 300 theatres between 1920 and 1950, buildings that became prototypes for the whole country.
This third volume of The Papers of Will Rogers documents the evolution of Rogers's vaudeville career as well as the newlywed life of Will and Betty Blake Rogers and the birth of their children. During these years, the Rogerses moved to New York City, and after many years of performing with Buck McKee and horse Teddy, Rogers began a solo act in vaudeville as a talking, roping cowboy. He appeared on the same playbill with such performers as Fred Stone, Eddie Cantor, and Houdini, and his stage career expanded to include an appearance in the Broadway musical comedy "The Wall Street Girl." Volume Three ends with Rogers's successful transition from vaudeville to Broadway, on the brink of his breakthrough as a star of the Ziegfeld Follies.
This book is published in conjunction with the exhibition, On the edge of your seat : Popular theater and film in early-twentieth century American art, organized by the Frederick R. Weisman Art Museum, University of Minnesota, Minneapolis.
A critical appreciation of the opera house in the coal-mining region of Appalachia from the mid 1860s to the early 1930s, Coal and Culture demonstrates that these were multipurpose facilities that were used for traveling theater, concerts, religious events, lectures, commencements, boxing matches, benefits, union meetings, and - if the auditorium had a flat floor - skating and basketball.
David Nasaw has written a sparkling social history of twentieth-century show business and of the new American public that assembled in the city's pleasure palaces, parks, theaters, nickelodeons, world's fair midways, and dance halls. The new amusement centers welcomed women, men, and children, native-born and immigrant, rich, poor and middling. Only African Americans were excluded or segregated in the audience, though they were overrepresented in parodic form on stage. This stigmatization of the African American, Nasaw argues, was the glue that cemented an otherwise disparate audience, muting social distinctions among "whites," and creating a common national culture.
Black vaudevillians and entertainers joked that T.O.B.A. stood for “tough on black artists.” But the Theater Owner’s Booking Association (T.O.B.A.) played a foundational role in the African American entertainment industry and provided a training ground for icons like Cab Calloway, Bessie Smith, Ethel Waters, Sammy Davis Jr., the Nicholas Brothers, Count Basie, and Butterbeans and Susie. Michelle R. Scott’s institutional history details T.O.B.A.’s origins and practices while telling the little-known stories of the managers, producers, performers, and audience members involved in the circuit. Looking at the organization over its eleven-year existence (1920–1931), Scott places T.O.B.A. against the backdrop of what entrepreneurship and business development meant in black America at the time. Scott also highlights how intellectuals debated the social, economic, and political significance of black entertainment from the early 1900s through T.O.B.A.’s decline during the Great Depression. Clear-eyed and comprehensive, T.O.B.A. Time is a fascinating account of black entertainment and black business during a formative era.
A comprehensive study of economic theory in relation to the development of nineteenth-century British theatre.
International vaudeville star and Broadway prima ballerina Jeanne Devereaux performed for millions across America and Europe from age eleven until her retirement at forty. A headliner at Radio City Music Hall, she led a large group of performers on one of the first USO Camp Shows tours to Japan. Born Jean Helman, she entered showbiz as a dancing trouper performing in palatial theaters and was one of the last vaudevillians surviving into the 2010s. In her later years living in Pasadena, California, Devereaux indulged her passion for research and writing in the Huntington Library's Rothenberg Reading Room, losing none of her intelligence and wit despite a fading memory. Drawing on personal interviews, theatrical programs, and her diary and letters, this biography illuminates the life and career of one of vaudeville's stars of stage, film, and television.