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The famous "Stage Yankees," with their eccentric New England dialect comedy, entertained audiences from Boston to New Orleans, from New York to London in the years between 1825 and 1850. They provided the creative energy for the development of an American-type character in early plays of native authorship. This book examines the full range of their theatre activity, not only as actors, but also as playmakers, and re-evaluates their contribution to the growth of the American stage. Yankee theatre was not an oddity, a passing fad, or an accident of entertainment; it was an honest exploitation of the materials of American life for an audience in search of its own identification. The delineation of the American character—a full-length realistic portrait in the context of stage comedy—was its projected goal; and though not the only method for such delineation, the theatre form was the most popular and extensive way of disseminating the American image. The Yankee actors openly borrowed from what literary sources were available to them, but because of their special position as actors, who were required to give flesh-and-blood imitations of people for the believable acceptance of others viewing the same people about them, they were forced to draw extensively on their actors' imaginations and to present the American as they saw him. If the image was too often an external one, it still revealed the Yankee as a hardy individual whose independence was a primary assumption; as a bargainer, whose techniques were more clever than England's sharpest penny-pincher; as a country person, more intelligent, sharper and keener in dealings than the city-bred type; as an American freewheeler who always landed on top, not out of naive honesty but out of a simple perception of other human beings and their gullibility. Much new evidence in this study is based on London productions, where the view of English audiences and critics was sharply focused on what Americans thought about themselves and the new culture of democracy emerging around them. The shift from America, the borrower, to America, the original doer, can be clearly seen in this stager activity. Yankee theatre, then, is an epitome of the emerging American after the Second War for Independence. Emerging nationalism meant emerging national definition. Yankee theatre thus led to the first cohesive body of American plays, the first American actors seen in London, and to a new realistic interpretation of the American in the "character" plays of the 1870s and 1880s.
The famous "Stage Yankees," with their eccentric New England dialect comedy, entertained audiences from Boston to New Orleans, from New York to London in the years between 1825 and 1850. They provided the creative energy for the development of an American-type character in early plays of native authorship. This book examines the full range of their theatre activity, not only as actors, but also as playmakers, and re-evaluates their contribution to the growth of the American stage. Yankee theatre was not an oddity, a passing fad, or an accident of entertainment; it was an honest exploitation of the materials of American life for an audience in search of its own identification. The delineation of the American character—a full-length realistic portrait in the context of stage comedy—was its projected goal; and though not the only method for such delineation, the theatre form was the most popular and extensive way of disseminating the American image. The Yankee actors openly borrowed from what literary sources were available to them, but because of their special position as actors, who were required to give flesh-and-blood imitations of people for the believable acceptance of others viewing the same people about them, they were forced to draw extensively on their actors' imaginations and to present the American as they saw him. If the image was too often an external one, it still revealed the Yankee as a hardy individual whose independence was a primary assumption; as a bargainer, whose techniques were more clever than England's sharpest penny-pincher; as a country person, more intelligent, sharper and keener in dealings than the city-bred type; as an American freewheeler who always landed on top, not out of naive honesty but out of a simple perception of other human beings and their gullibility. Much new evidence in this study is based on London productions, where the view of English audiences and critics was sharply focused on what Americans thought about themselves and the new culture of democracy emerging around them. The shift from America, the borrower, to America, the original doer, can be clearly seen in this stager activity. Yankee theatre, then, is an epitome of the emerging American after the Second War for Independence. Emerging nationalism meant emerging national definition. Yankee theatre thus led to the first cohesive body of American plays, the first American actors seen in London, and to a new realistic interpretation of the American in the "character" plays of the 1870s and 1880s.
THE STORY: Two men, one in his late-forties, the other twenty years older, meet in the waiting room of a New England state mental health facility only to discover that they have done business together in the past. Inside the facility, each of their wives
A study of pre-Civil War American theatre.
Focusing on the years between 1750 and 1860, this study follows the creation and perpetuation of an imperial culture, from the London metropole to the Great Plains.
J. Bruce Ismay was an upper-crust Englishman who always did what was expected of him. He went to the best schools, married the right society girl (even though he was in love with someone else) and vowed to his staunch, unfeeling father on his deathbed that he would take over the family shipping business and build the biggest, most opulent ship the world had ever seen: the RMS Titanic. What an accomplishment! We all know the story of how the ship sank … or do we? Ismay saved as many people as he could on that fateful night, and finally, with no women and children in sight, he stepped into the last lifeboat … and was branded a coward and a traitor forever. The world needed a scapegoat for the sinking of the Titanic and Ismay became the perfect target. He had a powerful enemy in the United States — newspaper magnate William Randolph Hearst. Hearst condemned Ismay nationwide before the rescue ship Carpathia even landed in New York. Hearst’s cause was aided by William Alden Smith, a ruthless senator with presidential aspirations, who led a "witch-hunt" investigation into this high-profile disaster. Although there was no solid evidence against Ismay, Senator Smith managed to drag the hearings on for months. More than 3,000 passengers brought lawsuits against the White Star Line for loss of life and property, which only fueled Ismay’s intense survivor’s guilt. When he was forced to resign from the White Star Line, he spent the rest of his days as a recluse at his estate in Ireland, haunted by the ghosts of that fateful night to the point of near insanity. THE LAST LIFEBOAT is the story of the Titanic that has never been told. This epic tale explores not only the tragedy itself, but the sensationalized trials and aftermath of the night that changed the world forever.