Sarah Bernhardt, Sir Henry Irving, Edwin sales space . . . there has been a time after they all performed Kansas urban. From star-studded engagements at ornate opera homes to risqué indicates in Fourth road honky-tonks, Kansas urban used to be a cow city that desired to civilize itself throughout the appearing arts. and since it was once a railway hub within the heyday of trouping, it opened its doorways to America’s touring performers.
This booklet chronicles the “first golden age” of Kansas urban theater, from the outlet of the Coates Opera residence in 1870 during the sluggish decline of traveling productions after global warfare I. Drawing at the reminiscences of well known theater critic David Austin Latchaw and on newspaper records of the period, Felicia Londré has gleaned long-lost nuggets of theater life—both the valid level and renowned fare—to create a desirable account of a urban and its theater culture.
The Enchanted Years of the degree is brimming with forgotten tales and old illustrations that provide a brand new viewpoint on either the background of yank theater and the humor and pathos of performers’ lives. It tells how James O’Neill as soon as chased a messenger boy for ruining a tremendous scene, whereas Louis James performed functional jokes on fellow actors in the course of Shakespeare performances; how police saved watch over the burlesque women on the Folly to ensure their act wouldn’t achieve the extent of indecency allowed in St. Louis; how Orth Stein shot the chief of the Theatre Comique; and the way Eddie Foy performed his loss of life scene in Kansas City—by loss of life there. through the publication, sidebars of Latchaw’s writing replicate the fashion and spirit of this bygone era.
supplying a richer view of yank theater than have debts based on manhattan, Londré’s ebook additionally yields a wealth of latest insights into the social and political textile of an rising city and testifies to the significance of the humanities within the development and popularity of a very good urban. by way of conveying the richness and complexity of street exhibits in Kansas City—a microcosm of the burgeoning nationwide stage—she provides us a key piece within the mosaic that used to be American theater in a missed yet unforgettable era.