This book recounts the personal and professional life of Thomas Souness Hamblin (1800-1853), Shakespearean actor and Bowery Theatre manager. Primarily responsible for the popularity of "blood and thunder" melodramas with working class audiences in New York City, Hamblin discovered, trained and promoted many young actors and, especially, actresses who later became famous in their own right. He also epitomized the "sporting man" of mid-nineteenth century life, conducting a scandalous series of affairs and visits to Manhattan brothels, which cost him his marriage to Elizabeth Blanchard Hamblin (1799-1849) and made him the brunt of moralist, religious and journalistic crusades, notably that of James Gordon Bennett's New York Herald. His machinations and perseverance through trying challenges, including several destructions of the Bowery Theatre by fire, extensive financial and legal complications, and the untimely deaths of several young protegees, earned him equal measures of admiration and opprobrium.

This book recounts the personal and professional life of Thomas Souness Hamblin (1800-1853), Shakespearean actor and Bowery Theatre manager. Primarily responsible for the popularity of "blood and thunder" melodramas with working class audiences in New York City, Hamblin discovered, trained and promoted many young actors and, especially, actresses who later became famous in their own right. He also epitomized the "sporting man" of mid-nineteenth century life, conducting a scandalous series of affairs and visits to Manhattan brothels, which cost him his marriage to Elizabeth Blanchard Hamblin (1799-1849) and made him the brunt of moralist, religious and journalistic crusades, notably that of James Gordon Bennett's New York Herald. His machinations and perseverance through trying challenges, including several destructions of the Bowery Theatre by fire, extensive financial and legal complications, and the untimely deaths of several young protegees, earned him equal measures of admiration and opprobrium.

For two centuries, nearly all historical accounts of American theatre have focused on New York, Boston, and Philadelphia. As a result, the story of theatre on the frontier consists primarily of regional studies with limited scope. Thomas A. Bogar's Theatre on the American Frontier provides an overdue, balanced treatment of the accomplishments of the troupes working in the trans-Appalachian West. From its origins in late eighteenth-century Pittsburgh, New Orleans, and Louisville, frontier theatre grew by the close of the nineteenth century to encompass more than a dozen centers of vibrant theatrical activity. Audiences—mainly pioneers struggling with the hardships of establishing a life in the backcountry—enjoyed thrilling melodramas, the comedies of George Colman the Younger and John O'Keeffe, and even the tragedies of William Shakespeare. Theatre companies that ventured into this challenging and unfamiliar territory did so with a combination of daring and determination. Bogar's comprehensive study brings this neglected history into the spotlight, cementing these figures and their theatrical productions and practices in their rightful place.

Before there was Shirley Temple or Judy Garland or Fanny Brice, before musical comedy even existed as a genre, Maggie Mitchell (1836-1918) consistently drew sold-out crowds for four decades as a musical comedy star. Admired by Abraham Lincoln as well as John Wilkes Booth, along with millions of adoring fans, both female and male, Maggie blazed across the American stage, her energy unstoppable in her signature roles: Fanchon, Little Barefoot, Pearl of Savoy, French Spy, Little Savage, and Jane Eyre. Trying to capture her appeal, reviewers exhausted their store of adjectives and metaphors, among them "vivacious," "beautiful," "hoydenish," "sprightly," "piquant," "elfin," "impish," "mischievous," "winsome," "electric," "versatile," "chaste," "a fascinating little witch," "a materialized sunbeam" and "a champagne sparkle." When she finally retired, one of the wealthiest actresses in the world, she left in her wake dozens of Maggie Mitchell imitators, and critics ever since have spoken of the "Maggie Mitchell style" of acting: effervescent, endearing, and eternally youthful. As an actress, a faithful wife and mother, and an icon of respectability in a field often condemned by moralists, she left a legacy of unparalleled achievement.

Not every presidential visit to the theater is as famous as Lincoln's last night at Ford's, but American presidents attended the theater long before and long after that ill-fated night. As a young man in 1751, George Washington saw his first play, The London Merchant, during a visit to Barbados. John Quincy Adams understood theater well enough to publish dramatic critiques. William McKinley, on the other hand, avoided theatrical performances while in office, on professional as well as moral grounds. Dwight Eisenhower used drama as a vehicle for political propaganda. Richard Nixon took a more personal view of theater, having met his wife at a community theater audition.Surveying 255 years, this volume examines presidential theater-going as it reflects shifting popular tastes in America. To this end, it provides a chronology of theater attendance throughout the lives of all 43 American presidents. Defining theater as a live dramatic performance (including opera but excluding ballet), the book details the attendance habits and theatrical tastes of each chief executive as well as the ways in which his choices reflected the mores and tastes of his contemporary American public. An afterword provides a summary of presidential theater-going preferences.