This is the first major collection of letters by the Revolutionary-era woman writer. This volume gathers more than one hundred letters - most of them previously unpublished - written by Mercy Otis Warren (1728-1814). Warren, whose works include a three-volume history of the American Revolution as well as plays and poems, was a major literary figure of her era and one of the most important American women writers of the eighteenth century. Her correspondents included Martha and George Washington, Abigail and John Adams, and Catharine Macaulay.Until now, Warren's letters have been published sporadically, in small numbers, and mainly to help complete the collected correspondence of some of the famous men to whom she wrote. This volume addresses that imbalance by focusing on Warren's letters to her family members and other women. As they flesh out our view of Warren and correct some misconceptions about her, the letters offer a wealth of insights into eighteenth-century American culture, including social customs, women's concerns, political and economic conditions, medical issues, and attitudes on child rearing.This title features letters that Warren sent to other women who had lost family members (Warren herself lost three children) reveal her sympathies; and, letters to a favorite son, Winslow, that show her sharing her ambitions with a child who resisted her advice. What readers of other Warren letters may have only sensed about her is now revealed more fully: she was a woman of considerable intellect, religious faith, compassion, literary intelligence, and acute sensitivity to the historical moment of even everyday events in the new American republic.

This ambitious collection of essays covers American drama in its entirety-from its inception in colonial America, through its many incarnations in the nineteenth century, to its zenith in the twentieth and early twenty-first centuries. Differentiating itself from other treatments of the genre, the handbook will not only highlight the major works of the twentieth century, but will also attend carefully to earlier works and contexts. The collection's first part will explore the genre's eighteenth-century genesis. William Dunlap's complex, sympathetic portrait of British forces in Andre is counterbalanced by the biting anti-colonial political satire of the nation's first female playwright, Mercy Otis Warren, through an appraisal of her witty, subversive skewering of British loyalists in The Group. The nineteenth century saw the form diversifying with offerings like the antebellum era's reform plays, the melodrama, and the musical-a flowering that was given a new center of action in the growth of Broadway. A full survey of the vexing tradition of minstrelsy and the struggles of Black Americans on the stage provides a transition into the twentieth century. The new approaches to playwriting and performance pioneered by Eugene O'Neill, Susan Glaspell, and the Provincetown Players gave theater a new cachet early in the century through the possibilities offered by naturalism and expressionism. Overtly political content took the stage in the protest plays of Clifford Odets during the Great Depression though in general a more insular realism proved the dominant style, albeit one interrupted by recurring periods of experimentalism. Key moments and artists who defined the later half of the twentieth-century are illuminated through in-depth essays on the scathing indictments of the American dream put forward by Arthur Miller, Tennessee Williams, and Edward Albee; the impact of the countercultural, mixed-race musical Hair; the complex nature of David Mamet's social critique; the energy of experimental, off-Broadway theater; the importance of place and memory in August Wilson's works; and the acute anxiety over the AIDS crisis during the Regan eighties as presented in Angels in America. The volume will conclude with a consideration of what lies ahead for the nation's drama, focusing on the pivotal work of leading lights such as Sarah Ruhl and Suzan Lori-Parks.

Drama, Theatre, and Identity in the American New Republic investigates the way in which theatre both reflects and shapes the question of identity in post-revolutionary American culture. In this 2005 book Richards examines a variety of phenomena connected to the stage, including closet Revolutionary political plays, British drama on American boards, American-authored stage plays, and poetry and fiction by early Republican writers. American theatre is viewed by Richards as a transatlantic hybrid in which British theatrical traditions in writing and acting provide material and templates by which Americans see and express themselves and their relationship to others. Through intensive analyses of plays both inside and outside of the early American 'canon', this book confronts matters of political, ethnic and cultural identity by moving from play text to theatrical context and from historical event to audience demography.

Drama, Theatre, and Identity in the American New Republic investigates the way in which theatre both reflects and shapes the question of identity in post-revolutionary American culture. In this 2005 book Richards examines a variety of phenomena connected to the stage, including closet Revolutionary political plays, British drama on American boards, American-authored stage plays, and poetry and fiction by early Republican writers. American theatre is viewed by Richards as a transatlantic hybrid in which British theatrical traditions in writing and acting provide material and templates by which Americans see and express themselves and their relationship to others. Through intensive analyses of plays both inside and outside of the early American 'canon', this book confronts matters of political, ethnic and cultural identity by moving from play text to theatrical context and from historical event to audience demography.

This unique volume includes eight early dramas that mirror American literary, social, and cultural history: Royall Tylers The Contrast (1789); William Dunlap's Andre (1798); James Nelson Barker's The Indian Princess (1808); Robert Montgomery Bird's The Gladiator (1831); William Henry Smith's The Drunkard (1844); Anna Cora Mowatt's Fashion (1845); George Aiken's Uncle Tom's Cabin (1852); and Dion Boucicault's The Octoroon (1859).

The early settlers in America had a special relationship to the theater. Though largely without a theater of their own, they developed an ideology of theater that expressed their sense of history, as well as their version of life in the New World. Theater Enough provides an innovative analysis of early American culture by examining the rhetorical shaping of the experience of settlement in the new land through the metaphor of theater. The rhetoric, or discourse, of early American theater emerged out of the figures of speech that permeated the colonists' lives and literary productions. Jeffrey H. Richards examines a variety of texts-histories, diaries, letters, journals, poems, sermons, political tracts, trial transcripts, orations, and plays-and looks at the writings of such authors as John Winthrop and Mercy Otis Warren. Richards places the American usage of theatrum mundi-the world depicted as a stage-in the context of classical and Renaissance traditions, but shows how the trope functions in American rhetoric as a register for religious, political, and historical attitudes.