Hello again, intrepid fans of bad plays! This week, I’m looking at a professional melodrama set during the war: William Haworth’s The Ensign (1892).
To my knowledge, the copy I got from the Sherman Collection at Southern Illinois Universitymight be the only extant copy of the play. But it seems that a lot of unpublished typescripts are squirreled away in odd places/papers, or haven’t been catalogued, or the finding aids aren’t digital/online, so I could be wrong on this front (please contact me if you know of any other copies out there!).
Anyways, actor/playwright/director William Haworth chose a rather unexpected location for the start of his play (at least, unexpected compared to many other popular Civil War melodramas).… Read more
Each week, I will share some quick thoughts on a late-nineteenth/early-twentieth century US play. 1 This series is really a way of keeping me honest as I work through my monograph on Civil War memories; because it is monograph-related, the play will somehow touch upon the war, slavery, or Reconstruction. I’ll be revisiting some plays I’ve already read/written about, but many will be texts I just recently acquired, thanks to a generous PSC-CUNY grant. The grant sent me to the Sherman Theatre archive, part of the Morris Library Special Collections at Southern Illinois University this past February.… Read more
My commentary will most likely be rife with sarcasm because it’s my second language, although my doctoral program would not accept it as one of the language requirements. ↩
The piles designated as “shelf-overflow” in our small apartment are growing as I begin accumulating more books for my research project on war reenactments. I had to create a one-page works cited for a recent abstract submission on the Gettysburg Sesquicentennial, but it is time for me to start building a more substantial list/Zotero library. The scope of this project will include Civil War and colonial-era war reenactments. I’m hoping to shamelessly crowd-source to help bulk up this bibliography (shout-outs to be included, of course), especially drawing on the expertise of performance studies colleagues. Suggest away.… Read more
I parked my rental car along West Confederate Avenue this morning in Gettysburg National Military Park, racing to get to the outdoor amphitheater. I could hear a small horn band playing, and I didn’t want to miss the sermon: my host – Walt Powell, PhD – was the speaker at this inter-denominational service. 1 Walt began his speech by explaining how he had considered using the words of Reverend James Brand, a veteran of the 27th Connecticut, who had delivered a rather political oration at a monument dedication for his regiment in 1885 – wherein he talked about corruption and the “liquor oligarchy.” Instead, Walt discussed the sacred ground of Gettysburg, and what it meant for us today.… Read more
Walt and Sue Powell are incredibly plugged in to the Gettysburg community, and as Walt is also a reenactor (though mostly colonial things these days), they have been invaluable resources during this research trip. ↩
I’m not doing the speech full justice here, but suffice to say it eloquently wrestled with the overlap between memory, history, commemoration, and what we should take away from the war and the sesquicentennial. ↩
When I arrived at the reenactment at the Redding farm this morning, I was determined to spend more time with the living historians, who had seemed – overall – quite a bit more chatty and willing to engage with the spectators than the reenactors in the camps. This is part and parcel of the division between reenacting and living history though as I understand it: reenactors may engage with the performance for a variety of reasons, but living historians have a pedagogical interest. Yesterday, tintype photographer Rob Gibson suggested the main reason people began re-enacting was “99% fun” from what he’s gathered in his many encounters.… Read more
Yesterday I watched the close of a commemorative march tracing the steps of the Confederate troops during Pickett’s Charge on July 3rd: thousands participated and watched, marking the space where these troops moved, on the very ground this assault took place. Monuments to the charge and its participants littered the field, providing shade for people and reminding us that this is, in fact, sacred ground. Edward Tabor Linenthal called Gettysburg – along with land of other seminal American battles (Lexington & Concord, Little Bighorn, etc.) – “sacred patriotic space,” or “pilgrimage sites,” where “memories of the transformative power of war and the sacrificial heroism of the warrior are preserved,” and those who visit “seek environmental intimacy in order to experience patriotic inspiration.” 1
In his chapter on Gettysburg, Linenthal goes on to describe the centennial Gettysburg celebrations, contextualizing it in terms of race relations in 1963.… Read more
Edward Tabor Linenthal, Sacred Ground: Americans and Their Battlefields (Chicago: University of Illinois Press, 1993), 3. ↩
Though the main celebrations won’t kick off until tomorrow – July 4th – there have been plenty of living history/reenactment events throughout the past couple of weeks in Gettysburg building up to the official 150th of the battle. This afternoon was the Pickett’s Charge commemorative march, and as I made my way through the streets of downtown Gettysburg (slowly, every so slowly in the traffic), I couldn’t help but be struck by theodd juxtaposition of Civil War-era costume and modern day trappings as reenactors and interpreters ambled through town. It was jarring; women in hoop skirts and men in wool uniforms draped themselves over meticulously restored porch railings while tourists with fanny packs drifted by.… Read more