The Romance of the American Theatre |
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Page 66
... letter from no less person than Peyton Randolph , the President of the Congress . So , willy nilly , Douglass played no more just then before lovers of the drama in the South . " " Before we leave this period , however , we must go back ...
... letter from no less person than Peyton Randolph , the President of the Congress . So , willy nilly , Douglass played no more just then before lovers of the drama in the South . " " Before we leave this period , however , we must go back ...
Page 80
... A PROFESSION From the Theatre Collection , Harvard University exceptions , being local amateurs . The exceptions noted were. WILLIAM DUNLAP , FIRST AMERICAN MAN OF LETTERS TO MAKE PLAY - WRITING From a drawing by Dunlap.
... A PROFESSION From the Theatre Collection , Harvard University exceptions , being local amateurs . The exceptions noted were. WILLIAM DUNLAP , FIRST AMERICAN MAN OF LETTERS TO MAKE PLAY - WRITING From a drawing by Dunlap.
Page 82
... letter sent by Burgoyne's brother - in - law , Thomas Stanley , the second son of Lord Derby , to Hugh Elliott : " We acted the tragedy of ' Zara ' two nights before I left Boston , " he wrote , " for the benefit of the widows and ...
... letter sent by Burgoyne's brother - in - law , Thomas Stanley , the second son of Lord Derby , to Hugh Elliott : " We acted the tragedy of ' Zara ' two nights before I left Boston , " he wrote , " for the benefit of the widows and ...
Page 83
... letter , mentioning all the difficulties and dis- tresses of the army , sent back the following concise an- swer : De la gaieté , encore de la gaieté , et toujours de la gaieté . The female parts were filled by young ladies , though ...
... letter , mentioning all the difficulties and dis- tresses of the army , sent back the following concise an- swer : De la gaieté , encore de la gaieté , et toujours de la gaieté . The female parts were filled by young ladies , though ...
Page 86
... letter has been quoted . He it was who wrote the Pro- logue for the re - opening of the John Street Theatre on January 25 , 1777 . The bill on this first night of a series of seasons which lasted until 1783 was Fielding's burlesque ...
... letter has been quoted . He it was who wrote the Pro- logue for the re - opening of the John Street Theatre on January 25 , 1777 . The bill on this first night of a series of seasons which lasted until 1783 was Fielding's burlesque ...
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Common terms and phrases
acting actor actress American stage American Theatre appearance audience Augustin Daly Baltimore beautiful became born Boston boxes called career character Charles Charles Kean Charles Kemble Charleston comedy critics crowded Davenport début declared dollars drama Drury Lane Dunlap E. A. Sothern E. L. Davenport early Edmund Kean Edwin Booth Edwin Forrest engagement England English entertainment famous Fanny Kemble father Fechter Forrest French Garrick Gazette gentlemen George Frederick Cooke Hallam Hamlet husband interesting Irving John Junius Brutus Booth Kean lady letter London Macbeth Macready Madame manager married Mathews minstrel Miss never night occasion opened Orleans Othello Park Theatre performance person Philadelphia piece play players playhouse presented Rachel Richard Richard III rôle scenes season seen Seilhamer Shakespeare Siddons soon star Street Theatre success theatrical tion town tragedian tragedy wife William woman wrote York young
Popular passages
Page 396 - Cromwell, I did not think to shed a tear In all my miseries; but thou hast forced me, Out of thy honest truth, to play the woman. Let's dry our eyes: and thus far hear me, Cromwell; And, when I am forgotten, as I shall be, And sleep in dull cold marble, where no mention Of me more must be heard of, say, I taught thee...
Page 139 - Nay, take my life and all; pardon not that: You take my house, when you do take the prop That doth sustain my house; you take my life, When you do take the means whereby I live.
Page 38 - I saw a power of topping folks, all sitting round in little cabbins, "just like father's corn-cribs"; and then there was such a squeaking with the fiddles, and such a tarnal blaze with the lights, my head was near turned. At...
Page 17 - I can never cease to remember with affection and gratitude, so warm, steady, and disinterested a friend; and I can most truly bear this testimony to his memory, that I never witnessed, in any family, more decorum, propriety, and regularity than in his : where I never saw a card, or even met (except in one instance) a person of his own profession at his table : of which Mrs. Garrick, by her elegance of taste, her correctness of manners, and very original turn of humour, was the brightest ornament....
Page 14 - I'd feed, And pipe upon mine oaken reed, To please my lovely Peggy. With her a cottage would delight, All's happy when she's in my sight, But when she's gone it's endless night, All's dark without my Peggy.
Page 4 - Majesty, not choosing to have as much patience as his good subjects, sent to them to know the meaning of it, upon which the master of the company came to the box, and, rightly judging that the best excuse for their default would be the true one, fairly told his Majesty that the queen was not shaved yet...
Page 301 - Ellen Terry is an enigma. Her eyes are pale, her nose rather long, her mouth nothing particular, complexion a delicate brick-dust, her hair rather like tow. Yet, somehow, she is beautiful. Her expression kills any pretty face you see beside her. Her figure is lean and bony, her hand masculine in size and form. Yet she is a pattern of fawn-like grace. Whether in movement or repose, grace pervades the hussy.
Page 30 - Desdemona, who is not cruel or covetous, but is foolish enough to dislike the noble Moor, his son-in-law, because his face is not white,, forgetting that we all spring from one root. Such prejudices are very numerous, and very wrong.
Page 29 - MORAL DIALOGUES, IN FIVE PARTS, Depicting the Evil Effects of Jealousy and other Bad Passions, and Proving that Happiness can only Spring from the Pursuit of Virtue.
Page 169 - Without question Booth was royal heir and legitimate representative of the Garrick-Kemble-Siddons dramatic traditions; but he vitalized and gave an unnamable race to those traditions with his own electric personal idiosyncrasy. (As in all art-utterance it was the subtle and powerful something special to the individual that really conquer'd.) To me, too, Booth stands for much else besides theatricals.