Reviews: Theatre, Culture and Temperance in Nineteenth-Century America., the Orient on the Victorian Stage., Early American Theatre from the Revolution to Thomas Jefferson., Theatre, Culture and Temperance Reform in Nineteenth-Century America., Theatre, Society and the Nation: Staging American Identities

2004 ◽  
Vol 31 (2) ◽  
pp. 80-89
Author(s):  
Louis James ◽  
Joseph McLaughlin ◽  
Bruce McConachie
Keyword(s):  
Nineteenth Century ◽  
Thomas Jefferson ◽  
American Theatre ◽  
Nineteenth Century America ◽  
Early American ◽  
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.

When Joseph Smith Met Martin Van Buren: Mormonism and the Politics of Religious Liberty in Nineteenth-Century America

2016 ◽  
Vol 85 (1) ◽  
pp. 150-158 ◽  
Author(s):  
Spencer W. McBride
Keyword(s):  
Nineteenth Century ◽  
Group Living ◽  
The United States ◽  
Religious Liberty ◽  
Equal Treatment ◽  
Joseph Smith ◽  
Nineteenth Century America ◽  
Early American ◽  
Protestant Christianity ◽  
Religious Other

In the nineteenth century, the Mormons were a minority religious group living on the fringes of the United States in both a geographic and social sense. Yet, in the twenty-first century, historians are increasingly realizing that the history of this marginal religious “other” sheds a great deal of light on the American past broadly conceived. This essay briefly describes an important moment in early Mormon history that illuminates our developing understanding of religious liberty in the early American republic, and the political obstacles Americans outside mainstream protestant Christianity faced in their efforts to obtain equal treatment under the law as American citizens.

Theatre, Culture and Temperance Reform in Nineteenth-Century America. By John W. Frick. New York: Cambridge University Press, 2003; pp. 225 + illus. $70 cloth.

2004 ◽  
Vol 45 (2) ◽  
pp. 288-290
Author(s):  
Rosemarie K. Bank
Keyword(s):  
Nineteenth Century ◽  
New York ◽  
Moral Reform ◽  
Temperance Movement ◽  
Cambridge University ◽  
American Theatre ◽  
Nineteenth Century America ◽  
The Arts ◽  
Definition Of

From its beginning, John W. Frick's Theatre, Culture and Temperance Reform in Nineteenth-Century America does the work of overhauling the received tradition with respect to melodrama, progressivism, the temperance movement, and social and moral reform in nineteenth-century American theatre. Frick's thesis is that “nineteenth-century temperance drama was born of the intersection of temperance motives and ideology with progressive trends in literature and the arts” (13). Though his definition of progressivism is (I think, too) broad, Theatre, Culture and Temperance Reform is neither a survey of temperance plays (readers are referred to two dissertations that have undertaken this work) nor a survey of progressive trends. Rather, it seeks to illustrate “stages or facets of temperance ideology and/or production” (16).

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