Early American theatre from the revolution to Thomas Jefferson: into the hands of the people

2004 ◽  
Vol 41 (08) ◽  
pp. 41-4563-41-4563
Keyword(s):  
Thomas Jefferson ◽  
American Theatre ◽  
Early American ◽  
The People ◽  
Early American Theatre ◽  
The Revolution

Early American Theatre from the Revolution to Thomas Jefferson: Into the Hands of the People. By Heather S. Nathans. Cambridge: Cambridge University Press, 2003; pp. 246. $70 cloth.

2004 ◽  
Vol 45 (2) ◽  
pp. 290-292
Author(s):  
Jared Brown
Keyword(s):  
New York ◽  
Thomas Jefferson ◽  
Cambridge University ◽  
American Theatre ◽  
Early American ◽  
The People ◽  
Early American Theatre ◽  
The Revolution

Heather S. Nathans's well-documented study, covering the colonial theatre, the theatre of the revolution, and postrevolutionary theatre to shortly after 1800, focuses on Boston, New York, and Philadelphia. She argues convincingly that the theatre of the time was significantly affected by social, political, and financial matters, therefore located in a social, political, and financial context Nathans calls “crucial” (5).

Notes on John Joseph Holland, with a Design for the Balitmore Theatre, 1802

1971 ◽  
Vol 12 (1) ◽  
pp. 58-66 ◽  
Author(s):  
Richard Stoddard
Keyword(s):  
Landscape Painting ◽  
American Theatre ◽  
Early American ◽  
Street Theatre ◽  
Early American Theatre

John Joseph Holland, one of the most prominent scene painters of the early American theatre, was born in England about 1776 and apprenticed at the age of nine to Gaetano Marinari, chief artist at the King's Theatre, Haymarket. “For upwards of forty years,” George Raymond recalled, Marinari “was accounted one of the first scene painters in Europe.” He trained Holland in scene painting and architecture, and the young artist taught himself landscape painting in watercolors. Soon after his apprenticeship was over, Holland went to Convent Garden, where he was employed from August, 1794, to February, 1795, but he later returned to the King's Theatre, where Thomas Wignell found him in 1796 and engaged him for the Chestnut Street Theatre, Philadelphia.

The Massachusetts Revolution of 1689: Three Early American Political Broadsides

1968 ◽  
Vol 2 (1) ◽  
pp. 1-12
Author(s):  
Richard C. Simmons
Keyword(s):  
New England ◽  
Political Opinion ◽  
Early American ◽  
The People ◽  
The Government ◽  
The Revolution

The revolution of 1689 in Massachusetts was an event of some complexity in which various shades of political opinion were united, temporarily and for different reasons, in opposition to Governor Andros and the government of the Dominion of New England. The immediate result of the overthrow of Andros was the formation of an alternative government, a ‘Council for the Safety of the People and the Conservation of the Peace’, which was formally constituted on 20 April 1689, two days after the Boston uprising. It was then agreed that the fifteen signatories of the letter to Andros which had demanded his surrender should be members of this Council ‘together with such other of them of the old Magistrates or such other Gentlemen as they shall Judge meet to Associate to them…’ Twenty-two other men accepted the invitation of the original fifteen to join them.

The Exterior of the Park Theatre, New York City, 1798

1982 ◽  
Vol 23 (2) ◽  
pp. 238-240
Author(s):  
Robert A. Gates
Keyword(s):  
New York ◽  
New York City ◽  
York City ◽  
Water Color ◽  
Historical Society ◽  
American Theatre ◽  
Early American ◽  
New York Historical Society ◽  
Early American Theatre

Of particular interest to scholars of the early American theatre is a 1798 water-color by Cotton Milbourne entitled “Saint Paul's Chapel, Broadway Between Fulton and Vesey Streets,” in the possession of the New-York Historical Society. Besides depicting the Chapel, the watercolor shows the Park Theatre as it appeared at the time of its opening in 1798. As such, it replaces the unreliable Elkanah Tisdale engraving, found in David Longworth's 1797 American Almanack, New-York Register and City Directory, as the most accurate view of the theatre prior to its reconstruction in 1820.

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