By Alma J. Bennett
Whereas the heritage of yank theatre has been generally documented, the heritage of its woman reviewers has been sometimes neglected. This booklet seeks to right that oversight through exploring the position of the good girl American critics, thereby increasing their canonical prestige. The anthology offers a quick description of the women's lives, their operating stipulations, samples in their writing, and aiding analyses. For a few readers, this can be a primary come across with girls who need to be represented within the American theatre in their instances and famous for his or her contributions to the improvement of dramatic idea and feedback.
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Extra info for American Women Theatre Critics: Biographies and Selected Writings of Twelve Reviewers, 1753-1919
She wrote a two-column rebuttal to the charges against people who attend theatres, the neighborhoods containing theatres, managers, actors, costuming, and the green room, all of which had been attacked as offensive to public morals. Field attributes such views to total ignorance of the theatre and its potential beneﬁts to society: If the clerical critic knew what he was talking about, would he be quite so illogical? Yet this gentleman dares to proclaim the theatre beyond the pale of reform, and its followers given over to the devil!
Her maternal grandmother, Mary Lapsley Riddle, was an actress and friend of Edwin Forrest. While the family remained active in theatre after the birth of the children (a son, “Little Joe,” was born in 1843 but died of cholera before his seventh birthday), home base was St. Louis, although the Fields accepted engagements from New York to New Orleans. When younger, the children traveled with Mrs. Field, but by 1850, she and the children stayed in St. Louis while Mr. Field played in Mobile. The family was together again in St.
The Pedlar, though he over-heard the old Shepherd say that Perdita was a Foundling and not his Daughter, neglects to tell the Prince this important Circumstance, though it was with that very Design he came and forced the two Clowns along with him. Perdita, though her Father and Brother are in the same Vessel with her, never sees or speaks to them: the old Shepherd and his Son make no Attempts to speak to her; and the Prince has so little Consideration for the Father and Brother of his Beloved that he takes no Notice of them; how wonderful is all this!
American Women Theatre Critics: Biographies and Selected Writings of Twelve Reviewers, 1753-1919 by Alma J. Bennett