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The Theatrical Manager in Britain and America
From Philip Henslowe to David Merrick, the producer or theatre manager has generally been seen as a combination of Shylock and Simon Legree, usurer and slavedriver, wholly concerned with profit and loss, indifferent to art and artists. Yet no single person has greater responsibility in what George Henry Lewes called the "perilous game" of play production. The essays in this volume examine five English and American theatrical managers, from the Elizabethan period to the twentieth century: Philip Henslowe, Tate Wilkinson, Stephen Price, Edwin Booth, and Charles Wyndham. The contributors, who evaluate the relationship of each manager to the drama of his time, include Bernard Beckerman, Charles ...
Report of Special Committee on Volunteering, Embracing a Complete Statement of Operations in Filling the Quota of the County of New York Under the Call of the President, Dated July 18, 1864, for 500,000 Men
Report includes financial statements of bounties paid to volunteers, a listing of persons who deposited money with the Committee in order to obtain substitutes for them, a listing of the substitutes for Army and Navy service by Congressional District, a listing of Army Volunteers in 1864, a listing of reenlistments, and naval recruits.
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The First Two Quartos of Hamlet
It is nearly two centuries since the first quarto of Hamlet was rediscovered, yet there is still no consensus about its relationship to the second quarto. Indeed, the first quarto, the least frequently read Hamlet, has been dismissed as "corrupt," "inferior" or like "a mutilated corpse," even though in performance it has been described as "the absolute dynamo behind the play." Currently one hypothesis dominates explanations about the quartos' interrelationship, supposing that the first quarto (published 1603) was reconstructed from memory by one or more actors who had performed minor roles in a version of the second quarto (published 1604-5). The present study reports on a detailed linguisti...
