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 University might 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 But it seems that a lot of unpublished typescripts are squirreled away in odd places/papers, or haven’t been catalogued, or the finding aids aren’t digital/online, so I could be wrong on this front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
Welcome to the Bad Play Friday series!
Each week, I will share some quick thoughts on a late-nineteenth/early-twentieth century US play. 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
Amateur performance comes up an awful lot in my research these days: the Grand Army of the Republic productions put on by veterans and locals for charity throughout the late-nineteenth century, the efforts of Charles Sager touring the Midwest and staging his spectacle/pageant The Negro in the late 1890s, and – in more recent developments – the work done by Civil War reenactors. I’ve been thinking more about amateur performance as I’ve prepared for the Mid-America Theatre Conference in Cleveland (where I’m presenting later today). For my MATC paper, I attempt to set up a framework for analyzing performance and consumption at the Gettysburg Sesquicentennial.… Read more
Researching black performance in the late nineteenth century poses a host of problems for a theatre historian. The archive is, at best, spotty, though there have been many excellent recent attempts to redress these gaps. In my efforts to find plays and productions speaking to slavery and Civil War memories staged by black performers in the late nineteenth/early twentieth century, I found a short but tantalizing bit about Charles Sager’s production The Negro (1899) in Errol G. Hill and James V. Hatch’s A History of African American Theatre. I decided the production merited a bit more digging, as it was a rare example of black history staged for a larger audience around the turn-of-the-century, when touring plantation shows were the most popular modes of black performance.… Read more