The New York Times Theater Reviews 1870 1919

This volume is a comprehensive collection of critical essays on The Taming of the Shrew, and includes extensive discussions of the play's various printed versions and its theatrical productions. Aspinall has included only those essays that offer the most influential and controversial arguments surrounding the play. The issues discussed include gender, authority, female autonomy and unruliness, courtship and marriage, language and speech, and performance and theatricality.

First published in 2001. Routledge is an imprint of Taylor & Francis, an informa company.

From the publication of his first book in 1905 until his death, Lord Dunsany (1878–1957) was an immensely popular Anglo-Irish writer. He has long been admired in the realms of fantasy, horror, and supernatural fiction and was a friend and colleague of writers W. B. Yeats, Lady Gregory, James Stephens, and Oliver St. John Gogarty. In recent years he has enjoyed a resurgence as a pioneering fantasy writer and an immense influence on later work in the genre. Critical Essays on Lord Dunsany is the first volume to assemble studies of Dunsany’s short fiction, novels, plays, and memoirs, as well as discussions of his influence on such writers as J. R. R. Tolkien and H. P. Lovecraft. The book also contains early articles and reviews by Yeats, Lovecraft, H. L. Mencken, Rebecca West, and Arthur C. Clarke. Seven original essays by leading contemporary scholars on Dunsany examine the use of medieval archetypes in his fantasy novels; the distinctiveness of his recurring character, clubman Joseph Jorkens; the influence of Don Quixote on his first novel, The Chronicles of Rodriguez (1922); the treatment of religion in his later novels; and other subjects. This anthology presents a comprehensive snapshot of Dunsany’s distinctive work and his contribution to fantasy fiction and world literature. Making a case for the continued study of this neglected but hugely influential writer, Critical Essays on Lord Dunsany will be of great interest to enthusiasts of Dunsany’s work as well as students and scholars of fantasy, horror, the supernatural, and Irish literature.

This book covers the history of theater as well as the literature of America from 1880-1930. The years covered by this volume features the rise of the popular stage in America from the years following the end of the Civil War to the Golden Age of Broadway, with an emphasis on its practitioners, including such diverse figures as William Gillette, Mrs. Fiske, George M. Cohan, Maude Adams, David Belasco, George Abbott, Clyde Fitch, Eugene O’Neill, Texas Guinan, Robert Edmond Jones, Jeanne Eagels, Susan Glaspell, The Adlers and the Barrymores, Tallulah Bankhead, Philip Barry, Maxwell Anderson, Mae West, Elmer Rice, Laurette Taylor, Eva Le Gallienne, and a score of others. Entries abound on plays of all kinds, from melodrama to the newly-embraced realistic style, ethnic works (Irish, Yiddish, etc.), and such diverse forms as vaudeville, circus, minstrel shows, temperance plays, etc. This second edition of Historical Dictionary of American Theater: Modernism covers the history of modernist American Theatre through a chronology, an introductory essay, and an extensive bibliography. The dictionary section has over 2,000 cross-referenced entries on actors and actresses, directors, playwrights, producers, genres, notable plays and theatres. This book is an excellent access point for students, researchers, and anyone wanting to know more about the American Theater in its greatest era.

"The period of 1880 to 1929 is the richest theater era in American history, certainly in the number of plays produced and significant artists, as well as in the centrality of theater in the lives of Americans. As the impact of European modernism gradually seeped into American theater during the 1880s and 1890s, more traditional forms of theater gave way to futurism, symbolism, surrealism, and expressionism. Such playwrights as Eugene O'Neill, George Kelly, Elmer Rice, Philip Barry, and George S. Kaufman ushered in the golden age of American drama." "The A to Z of American Theater: Modernism focuses on legitimate drama, both as influenced by modernism in Europe and by the popular entertainment that also enlivened the era. This is accomplished through a chronology, an introductory essay, a bibliography, and hundreds of cross-referenced entries on plays, music, playwrights, performers, producers, critics, architects, designers, and costumes." --Book Jacket.

Vaudeville, as it is commonly known today, began as a response to scandalous variety performances appealing mostly to adult, male patrons. When former minstrel performer and balladeer Tony Pastor opened the Fourteenth Street Theatre in New York in 1881, he was guided by a mission to provide family-friendly variety shows in hopes of drawing in that portion of the audience – women and children – otherwise inherently excluded from variety bills prior to 1881. There he perfected a framework for family-oriented amusements of the highest obtainable quality and style. Historical Dictionary of Vaudeville contains a chronology, an introduction, an extensive bibliography, and the dictionary section has more than 1,000 cross-referenced entries on performing artists, managers and agents, theatre facilities, and the terminology central to the history of vaudeville. This book is an excellent resource for students, researchers, and anyone wanting to know more about vaudeville.