Sarah Bernhardt, London, his own acting--Edwin Booth commented on these and hundreds of other subjects in letters to William Winter, friend of twenty years and drama critic for the New York Tribune. Since he wrote neither autobiography nor diary, the letters constitute the fullest and most detailed record of Booth's career between 1869 and 1890, and arc a new and significant source of information about the actor. The 125 letters which Daniel Watermeier has selected and arranged in this volume are fully annotated; each is preceded by a headnote which provides an introduction to its content and narrative continuity from one letter to the next. Mr. Watermeier's introduction includes biographical sketches of Edwin Booth and William Winter and sets the context of their friendship. With few exceptions, the Booth-Winter letters have not hitherto been made public. They represent a major addition to studies of Edwin Booth and to the history of the American theater. Originally published in 1971. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.

Sarah Bernhardt, London, his own acting--Edwin Booth commented on these and hundreds of other subjects in letters to William Winter, friend of twenty years and drama critic for the New York Tribune. Since he wrote neither autobiography nor diary, the letters constitute the fullest and most detailed record of Booth's career between 1869 and 1890, and arc a new and significant source of information about the actor. The 125 letters which Daniel Watermeier has selected and arranged in this volume are fully annotated; each is preceded by a headnote which provides an introduction to its content and narrative continuity from one letter to the next. Mr. Watermeier's introduction includes biographical sketches of Edwin Booth and William Winter and sets the context of their friendship. With few exceptions, the Booth-Winter letters have not hitherto been made public. They represent a major addition to studies of Edwin Booth and to the history of the American theater. Originally published in 1971. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.

When John Wilkes Booth assassinated President Abraham Lincoln, his older brother Edwin was devastated. A leading stage star, Edwin Booth thought his career had ended. But with the support of countless theatergoers, over the next thirty years Booth would overcome the shadow of John Wilkes's infamy and steadily advance a reputation as America's greatest-ever Shakespearean actor, "the" American tragedian par excellence.

Daniel J. Watermeier has, through decades of tireless research paired with his own sharp insight, put together the most complete Edwin Booth biography to date. Drawing on a wealth of archival materials and contemporary theatrical scholarship, "American Tragedian: The Life of Edwin Booth" gives more attention than previous biographies to Booth's apprentice and journeyman years; his rise in antebellum America to stardom with a new, acclaimed style of acting; his work as an innovative theater builder and theatrical producer; his several foreign tours; and his nationwide tours in the late 1880s. It also addresses Booth's critical reception in dozens of cities in America and abroad and situates his professional activities within the events and trends of the time.

As interesting as it is informative, Watermeier's book offers an in-depth look at the triumphal career and tumultuous life of one of the American stage's most celebrated figures.

Though first performed some 400 years ago, the plays of William Shakespeare still continue to capture the popular imagination and are produced by numerous companies around the world. This reference describes over 140 Shakespeare companies and festivals worldwide. Each company or festival is profiled in a separate entry. Entries are grouped in chapters devoted to particular states or countries, and provide historical, organizational, demographic, and production information. Each profile describes the history of the festival or company; its organization, including staffing and budgeting; its physical facilities and performance site; the demographics of its audience and the community where it is located; and the company's or festival's approach to producing Shakespeare's plays. Each entry begins with a headnote providing essential information, such as the name, address, box office phone number, length of season, principal staff members, facilities, annual attendance, and budget. Each closes with a chronological listing of all Shakespeare's plays produced by the organization, and resources for further information.