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hit, but the confusion incidental to such a crowd on the stage, occasioned constant and most humorous interruptions. It was every thing or any thing, but a tragedy. In the scene with Lady Anne, a scene so much admired for its address, the gallery spectators amused themselves by throwing pennies and silver pieces on the stage, which occasioned an immense scramble among the boys, and they frequently ran between King
Richard and Lady Anne, to snatch a stray copper. In the tent scene, so solemn and so impressive, several curious amateurs went up to the table, took up the crown, poised the heavy sword, and examined all the regalia with great care, while Richard was in agony from the terrible dream; and when the scene changed, discovering the ghosts of King Henry, Lady Anne and children, it was difficult to select them from the crowd who thrust their faces and persons among the Royal shadows. The Battle of Bosworth Field capped the climax—the audience mingled with the soldiers and raced across the stage, to the shouts of the people, the roll of the drums and the bellowing of the trumpets; and when the fight between Richard and Richmond came on, they made a ring round the combattants to see fair play, and kept them at if for nearly a quarter of an hour by "Shrewsberry clock."
72:
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690:'s release from prison. Although Roda spoke in Italian and Goldman understood none of it, she was moved by Roda's charismatic presence. She wrote, "Maria's strange beauty and the music of her speech roused the whole assembly to tensest enthusiasm. Maria proved a veritable ray of sunlight to me." She then pledged to become Maria Roda's "teacher, friend, comrade."
632:, began populating the Bowery neighborhood. They came to form a significant portion of the Bowery's audience, mostly in the low-price gallery section. In order to cater to them, the theatre offered plays by James Pilgrim and other Irish playwrights. Meanwhile, the Bowery emerged as the theatrical center for New York's
557:, and he rebuilt with an eye toward appealing to a more upscale patronage and to staging more spectacular melodrama. The theatre now seated 4,000 and with a stage 126 feet (38 m) square, secured its place as one of the largest playhouses in the world. The architect and builder of the new theatre was
539:
By reasonable computation there were about 300 persons on the stage and wings alone—soldiers in fatigue dresses—officers with side arms—a few jolly tars, and a number of 'apple-munching urchins.' The scene was indescribably ludicrous. Booth played in his best style, and was really anxious to make a
320:
spoke at the opening ceremony, imploring the theatre's intended upper-class audience: "It is therefore incumbent upon those whose standing in society enables them to control the opinions and direct the judgment of others, to encourage, by their countenance and support, a well-regulated theatre." Its
492:
In the spring of 1834, Hamblin began buying shares in the theatre from the New York
Association; he had enough to control the enterprise completely within 18 months. By the time the Bowery burned again in September 1836, it was the most popular playhouse in New York City, despite steep increases in
552:
Profits were harder to come by in the 1840s, as more playhouses sprung up in New York. Hamblin staged more effects-driven melodrama and later increased bookings of circus acts, minstrel shows, and other variety entertainments. The Bowery burned down once more in April 1845. This time, Hamblin had
643:
and
Charles J. Rogers took a three-year lease on the Bowery Theatre, which they renovated and fitted with a movable stage so as to be able to cater for both equestrian and dramatic performances. Among their acts were the trapeze artists François and Auguste Siegrist and the tight-rope dancer
369:
in August 1830 to manage the theatre. A month later, Hackett left
Hamblin in complete control. After the Bowery burned down later that year, Hamblin rebuilt. He then took the theatre in a decidedly different direction for what would be its most innovative and successful period.
544:
Some sources even suggest that patrons engaged in sexual behavior in the lobbies and boxes. Understandably, Hamblin was careful to remain in this crowd's good graces. For example, he regularly offered use of the Bowery
Theatre for the annual firemen's ball. Only the
497:
was right across the street). Visual spectacle had become such an integral part of its appeal that
Hamblin claimed $ 5,000 in wardrobe losses from the fire. Hamblin bought out the remaining shares in the theatre and rented the site to W. E. Dinneford and
488:
in lieu of candles and kerosene lamps. The Bowery
Theatre earned the nickname "The Slaughterhouse" for its low-class offerings, and terms like "Bowery melodrama" and "Bowery actors" were coined to characterize the new type of theatre.
561:. Hamblin left the management to A. W. Jackson, though Jackson and later managers largely upheld Hamblin's emphasis on melodrama and visual splendor. Hamblin died in January 1853, and the theatre remained in his family until 1867.
236:. It burned down four times in 17 years, a fire in 1929 destroying it for good. Although the theatre's name changed several times (Thalia Theatre, Fay's Bowery Theatre, etc.), it was generally referred to as the "Bowery Theatre".
393:
causes, placing it in direct contrast to the Park
Theatre's cultivated image of traditional European high culture. This was partially the result of an anti-British theatre riot at the Park; Hamblin renamed the playhouse "the
298:
compared it to the Park
Theatre as "superior in beauty; it is indeed as pretty a theatre as I ever entered, perfect as to size and proportion, elegantly decorated, and the scenery and machinery equal to any in London...."
71:
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enjoyed the most frequent billings, and hybrid forms, such as melodramas about dogs saving their human masters, became unprecedented successes. Spectacular productions with advanced
530:
1905 map of the block between
Elizabeth (west) & Bowery (east), Bayard (south) and Canal (north), showing the Thalia Theatre just south of large yellow area representing the
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1107:
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Through Hamblin's actions, working-class theatre emerged as a form in its own right, and melodrama became the most popular form of American theatre. Low-class patrons such as
333:
gave the theatre access to a large patronage. The theatre burnt down on the evening of May 26, 1828, but was rebuilt by the architect Joseph Sera and reopened under the name
2237:
465:
and blacks in New York City and then storming the theatre on July 9. Farren apologized for his comments, and George Washington Dixon sang popular songs to quell the rioters.
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1951:
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In the 1910–20's, it was owned and managed by Feliciano Acierno and called "Acierno's Thalia Theatre". Acierno brought much of the Italian vaudeville to the stage.
438:
became the most popular act at the Bowery until after the Civil War. Bowery productions also debuted or popularized a number of new character types, including the
502:, who rebuilt. When this interim Bowery burned down on February 18, 1838, Hamblin replaced it with a bigger and more opulent structure, which opened in May 1839.
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714:; the old tavern was moved into the countryside, on the northwest corner of 3rd Avenue and 24th Street, where the new cattle market developed around it.
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461:, had reportedly made anti-American comments and fired an American actor. Protesters reacted by attacking the homes, businesses, and churches of
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596:, adapted by Louisa Honor de Medina from the popular novel, debuted in February 1838, and reappeared after a theatre fire in May 1839 starring
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design, was more opulent than the Park, and it seated 3,500 people, making it the biggest theatre in the United States at the time.
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260:. Under the leadership of Henry Astor, they formed the New York Association and bought the land where Astor's
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588:, which debuted on July 22, 1833, and had 43 consecutive performances, an astounding feat for its time.
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By the mid-1820s, wealthy settler families in the new ward that was made fashionable by the opening of
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696:"Fay's Bowery Theatre" burned down on June 5, 1929, under Chinese management and was never rebuilt.
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actors and playwrights and allowed them to play for long runs of up to a month. Before 1843, early
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patrons and by advertising them extensively according to Gilfert's model. Animal acts, blackface
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in the 1830s and 1840s. By the 1850s, the theatre came to cater to immigrant groups such as the
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Behind the Burnt Cork Mask: Early Blackface Minstrelsy and Antebellum American Popular Culture
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Hamblin defied conventions of theatre as high culture by booking productions that appealed to
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with many trick transformations including a vast enemy encampment, an Indian jungle near the
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996:, Educational Theatre Journal, Vol. 11, No. 3 (Oct. 1959), pp. 188–199, at 196 (noting that
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Some notable investors included Samuel Laurence Gouverneur, son-in-law to President
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484:, including water and fire, featured prominently. Hamblin also innovated by using
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994:
Theatre for the Majority: Its Influence on a Nineteenth Century American Theatre
415:
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317:
269:
612:. This play debuted on August 5, 1844, and ran for 78 consecutive performances.
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had 43 performances; Elephant of Siam and the Water Witch in 1831 had 18 each)
740:
As I remember: recollections of American society during the nineteenth century
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in 1879, offering primarily German theatre during their ownership. In 1891,
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stood, facing the neighborhood and occupying the area between Elizabeth,
217:
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Cockrell calls this individual George P. Farren. Wilmeth and Bigsby in
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The pro-Americanism of the Bowery's audience came to a head during the
212:. Although it was founded by rich families to compete with the upscale
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and a bombardment by British forces with a charge on foot and horse.
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1184:. Vol. Two, 1870–1945. Cambridge: Cambridge University Press.
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By the middle of the 19th century, immigrant groups, notably the
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268:(then called Walker), and Bayard streets. They hired architect
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The Bowery Theatre opened on October 22, 1826, under the name
1170:
The Cambridge History of American Theatre: Beginnings to 1870
1087:
Demons of Disorder: Early Blackface Minstrels and Their World
853:
The Cambridge History of American Theatre: Beginnings to 1870
316:, under the management of Charles A. Gilfert. New York Mayor
1037:
Clowns and Cannons: The American Circus During the Civil War
948:
Tremendous Fire! – Bowery Theatre Burnt for the Fourth Time!
762:"Booth at the Old Bowery: Commodore Tooker's Recollections,"
686:
addressed a large rally at the Thalia Theater celebrating
1040:, Emeritus Enterprise Book (2000) – Google Books p. 43
579:
and ran for 18 consecutive performances in early 1831.
216:, the Bowery saw its most successful period under the
775:
773:
976:, November 17, 1845, p.2, col. 5, bottom. Online at
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1970:
1794:
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1582:
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1388:
1289:
1176:Wilmeth, Don B.; Bigsby, Christopher, eds. (1999).
180:
164:
149:
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105:
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1177:
1140:
1099:Nichols, Glen (1999). "Hamblin, Thomas Sowerby".
2263:Demolished buildings and structures in Manhattan
1023:Records of the New York stage, from 1750 to 1860
679:succeeded this, followed by Chinese vaudeville.
814:
812:
564:Successful plays of Hamblin's tenure included:
537:
337:on August 20, 1828. Gilfert's understanding of
248:1826 New York Theatre, by architect Ithiel Town
1066:(Unabridged) (ReadaClassic.com, 2010), p. 150.
650:Tippoo Sahib, or, the Storming of Seringapatam
648:. In January 1861 they staged the spectacular
1243:
1168:Wilmeth, Don B., and Bigsby, C. W. E. (1998)
8:
1932:Lewisohn Stadium of City College of New York
1103:, Vol. 9. New York: Oxford University Press.
840:New-York Mirror, and Ladies Literary Gazette
341:was keen, but in 1829 the owners fired him.
39:
27:Playhouse in Manhattan, New York (1826–1898)
2253:Buildings and structures demolished in 1929
675:became the predominant attraction. Italian
522:Thalia Theatre, which was destroyed in 1929
457:of 1834. Farren, the Bowery's British-born
2238:1929 disestablishments in New York (state)
1690:
1679:
1286:
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836:"Public Buildings: The New Bowery Theatre"
430:also gained renown on the Bowery's stage.
414:played there frequently, and acts such as
70:
38:
1180:The Cambridge History of American Theatre
1147:. Cambridge: Cambridge University Press.
1139:Wilmeth, Don B.; Miller, Tice L. (1996).
1096:. Chicago: University of Illinois Press.
756:
754:
385:, and the Bowery emerged as the home of
2233:1826 establishments in New York (state)
1172:. New York: Cambridge University Press.
1082:. New York: Cambridge University Press.
988:
986:
842:, Vol. 6 No. 7 (August 23, 1828):49–51.
825:. Vol. I. New York: T. H. Morrell.
704:
569:The Elephant of Siam and the Fire Fiend
2258:Commercial buildings completed in 1826
910:Porter, William T. (1 December 1832).
1109:Maps of the City of New York, Vol. 3.
1080:Theatre Culture in America, 1825–1860
896:"Destruction of the Bowery Theatre".
712:The Bowery Boys: "Bull's Head Tavern"
398:" in reaction. Hamblin hired unknown
377:Bowery Theatre of 1845, shown in 1856
7:
2288:Yiddish theatre in the United States
2268:Demolished theatres in New York City
381:American theatres stratified in the
1222:"In and Around the Bowery Theatre,"
1143:Cambridge Guide to American Theatre
743:. D. Appleton and Company. p.
737:Marian Campbell Gouverneur (1911).
321:first few seasons were devoted to
55:American Theatre, Bowery (c. 1840)
25:
1132:Domestic Manners of the Americans
956:, April 26, 1845, p.2. Online at
936:Domestic Manners of the Americans
794:Domestic Manners of the Americans
2174:Burton's Chambers Street Theatre
515:described the Bowery's patrons:
2243:1929 fires in the United States
980:website, "Chronicling America".
960:website, "Chronicling America".
586:, Or, The Wild Horse of Ukraine
1010:The Cambridge Guide To Theatre
667:converted the Bowery into the
575:, which featured the elephant
509:predominated in the audience.
1:
1651:Blue Note Entertainment Group
1123:. Accessed November 28, 2005.
1089:. Cambridge University Press.
822:Records of the New York stage
353:Bowery Theatre of 1828, from
240:Founding and early management
220:, pro-American management of
2273:Former theatres in Manhattan
2043:Koster and Bial's Music Hall
1993:Barnum's New American Museum
1533:Circle in the Square Theatre
1117:New York, NY: Bowery Theatre
549:boasted a rowdier audience.
355:Bourne Views of New York
290:The new playhouse, with its
1101:American National Biography
916:. Quoted in Cockrell 31–32.
819:Ireland, Joseph N. (1866).
605:Putnam, the Iron Son of '76
450:, and the blackface Negro.
76:Bowery Theatre in July 1867
61:Fay's Bowery Theatre (1929)
2304:
2283:Theatres completed in 1826
2053:Madison Square Roof Garden
1887:Daly's 63rd Street Theatre
1559:Samuel J. Friedman Theatre
1498:Roundabout Theatre Company
1224:Manhattan Unlocked website
1217:Internet Broadway Database
1092:Mahar, William J. (1999).
1078:Bank, Rosemary K. (1997).
806:Quoted in Cockrell, p. 29.
40:The Bowery Theatre of 1845
29:
2278:John M. Trimble buildings
1912:George M. Cohan's Theatre
1689:
1684:Defunct and/or demolished
1678:
1335:Gerald Schoenfeld Theatre
1310:Bernard B. Jacobs Theatre
1285:
1274:
1265:
1112:Perris & Browne, 1853
272:to design the new venue.
81:
69:
44:
2159:Barnum's American Museum
1942:Maxine Elliott's Theatre
1751:Metropolitan Opera House
1507:Stephen Sondheim Theatre
1390:Nederlander Organization
1345:James Earl Jones Theatre
1291:The Shubert Organization
1064:Living My Life: Volume 1
934:Trollope, Fanny (1832).
507:Bowery b'hoys and g'hals
396:American Theatre, Bowery
281:James Alexander Hamilton
153:August 4, 1845
30:Not to be confused with
1867:Civic Repertory Theatre
1862:Charles Hopkins Theatre
1569:Vivian Beaumont Theater
1439:Richard Rodgers Theatre
1330:Ethel Barrymore Theatre
1085:Cockrell, Dale (1997).
913:The Spirit of the Times
659:Germans Gustav Amberg,
512:The Spirit of the Times
408:George Washington Dixon
196:was a playhouse on the
129:40.715891°N 73.996550°W
49:New York Theatre (1826)
2154:Anthony Street Theatre
1627:Mark Hellinger Theatre
1468:Eugene O'Neill Theatre
974:New York Daily Tribune
953:New York Daily Tribune
625:
547:Chatham Garden Theatre
542:
535:
523:
378:
358:
344:
249:
168:June 5, 1929
32:Miner's Bowery Theatre
2204:Richmond Hill Theatre
2184:Nassau Street Theatre
2133:Winter Garden Theatre
2033:Herald Square Theatre
1957:Sam H. Harris Theatre
1922:Knickerbocker Theatre
1741:International Theatre
1549:New Amsterdam Theatre
1463:August Wilson Theatre
1458:Al Hirschfeld Theatre
1409:Lunt-Fontanne Theatre
1380:Winter Garden Theatre
723:For map, see Perris,
624:
529:
521:
376:
352:
247:
134:40.715891; -73.996550
58:Thalia Theatre (1879)
52:Bowery Theatre (1828)
2093:Paradise Roof Garden
1978:Abbey's Park Theatre
1937:Lyric Theatre (1903)
1897:Fifth Avenue Theatre
1892:Earl Carroll Theatre
1657:Times Square Theater
1115:Praefcke, Andreas. "
900:. February 24, 1828.
779:Wilmeth and Tice 42.
2179:John Street Theatre
2073:New Theatre Comique
2063:Murray Hill Theatre
1817:American Music Hall
1812:49th Street Theatre
1807:44th Street Theatre
1802:39th Street Theatre
1761:New Century Theatre
1701:48th Street Theatre
1637:New Victory Theater
1631:Times Square Church
1592:Ed Sullivan Theater
1517:Todd Haimes Theatre
1488:Walter Kerr Theatre
1424:Nederlander Theatre
1350:John Golden Theatre
992:Shank, Theodore J.
978:Library of Congress
958:Library of Congress
765:The New York Times,
641:Gilbert R. Spalding
610:Nathaniel Bannister
577:Mademoiselle D'Jeck
495:Bowery Amphitheatre
406:performers such as
125: /
41:
2128:Weber's Music Hall
2068:New Bowery Theatre
1947:Nora Bayes Theatre
1917:Hippodrome Theatre
1781:Vanderbilt Theatre
1429:Neil Simon Theatre
1404:Lena Horne Theatre
1320:Broadhurst Theatre
1300:Ambassador Theatre
1051:Clowns and Cannons
1034:William L. Slout,
970:Untitled paragraph
760:Tooker, Joseph H.
665:Mathilde Cottrelly
646:Marietta Zanfretta
626:
536:
524:
387:American nativists
379:
359:
306:, with the comedy
285:Alexander Hamilton
262:Bull's Head Tavern
250:
2220:
2219:
2216:
2215:
2212:
2211:
2123:Wallack's Theatre
2058:Manhattan Theatre
2028:Grand Opera House
1882:Criterion Theatre
1771:President Theatre
1766:Playhouse Theatre
1674:
1673:
1670:
1669:
1585:Broadway theatres
1483:St. James Theatre
1449:ATG Entertainment
1370:Music Box Theatre
1259:Broadway theatres
1127:Trollope, Frances
1021:Ireland, Joseph,
593:Nick of the Woods
493:competition (the
361:The owners hired
190:
189:
16:(Redirected from
2295:
2189:National Theatre
2169:Broadway Theatre
2149:American Theatre
2118:Victoria Theatre
2098:Princess Theatre
2078:New York Theatre
2003:Broadway Theatre
1983:Academy of Music
1952:Princess Theatre
1842:Broadway Theatre
1786:Ziegfeld Theatre
1726:Colonial Theatre
1691:
1680:
1419:Minskoff Theatre
1399:Gershwin Theatre
1365:Majestic Theatre
1355:Longacre Theatre
1340:Imperial Theatre
1325:Broadway Theatre
1287:
1280:Active, by owner
1276:
1252:
1245:
1238:
1229:
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1200:
1198:
1183:
1165:
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1161:
1146:
1106:Perris, William
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728:
721:
715:
709:
661:Heinrich Conried
617:Later management
424:Louisa Lane Drew
367:James H. Hackett
345:Hamblin's tenure
309:The Road to Ruin
304:New York Theatre
296:Frances Trollope
254:Lafayette Street
175:
173:
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158:
140:
139:
137:
136:
135:
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2223:
2222:
2221:
2208:
2194:Olympic Theatre
2164:Booth's Theatre
2137:
2113:Theatre Comique
2088:Olympic Theatre
2008:Central Theatre
1988:Bandbox Theatre
1966:
1962:Waldorf Theatre
1907:Garrick Theatre
1877:Concert Theatre
1857:Century Theatre
1847:Casino de Paris
1832:Belmont Theatre
1790:
1756:Morosco Theatre
1706:Adelphi Theatre
1685:
1666:
1661:New 42nd Street
1641:New 42nd Street
1622:Liberty Theatre
1584:
1578:
1521:
1492:
1443:
1414:Marquis Theatre
1384:
1375:Shubert Theatre
1305:Belasco Theatre
1281:
1270:
1261:
1256:
1209:
1196:
1194:
1192:
1175:
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673:Yiddish theatre
634:Lower East Side
619:
559:John M. Trimble
532:Atlantic Garden
347:
314:Thomas Holcroft
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202:Lower East Side
185:John M. Trimble
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2018:Daly's Theatre
2015:
2013:Circle Theatre
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1872:Comedy Theatre
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1852:Casino Theatre
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1837:Bowery Theatre
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1573:Lincoln Center
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1213:Bowery Theatre
1208:
1207:External links
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1062:Emma Goldman,
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1025:, pp. 417, 438
1014:
1012:, p. 76 (1995)
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598:Joseph Proctor
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555:fire insurance
482:visual effects
474:minstrel shows
428:Frank Chanfrau
412:Thomas D. Rice
383:Jacksonian Era
363:Thomas Hamblin
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335:Bowery Theatre
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1539:Hayes Theater
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470:working-class
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463:abolitionists
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459:stage manager
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432:George L. Fox
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420:Edwin Forrest
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2199:Park Theatre
2108:Star Theatre
1927:Klaw Theatre
1836:
1616:AMC Theatres
1606:Hotel Edison
1543:Second Stage
1197:February 11,
1195:. Retrieved
1179:
1169:
1160:February 11,
1158:. Retrieved
1142:
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868:Nichols 900.
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821:
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784:
764:
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688:Emma Goldman
681:
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538:
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500:Thomas Flynn
491:
486:gas lighting
467:
455:Farren Riots
452:
448:Frontiersman
440:Bowery B'hoy
395:
380:
360:
354:
334:
307:
303:
301:
292:Neoclassical
289:
277:James Monroe
274:
258:Park Theatre
251:
214:Park Theatre
193:
191:
145:Construction
36:
2142:Pre-musical
1822:Anco Cinema
416:J. B. Booth
339:advertising
318:Philip Hone
270:Ithiel Town
132: /
107:Coordinates
2227:Categories
1073:References
925:Mahar 278.
898:The Albion
684:Maria Roda
677:vaudeville
172:1929-06-05
165:Demolished
157:1845-08-04
120:73°59′48″W
117:40°42′57″N
1971:Post-1866
1795:Post-1919
1694:Post-1949
1647:Sony Hall
1526:Other (5)
1512:Studio 54
1121:Carthalia
877:Bank 116.
855:call him
682:In 1894,
654:Taj Mahal
478:melodrama
436:pantomime
404:blackface
357:(1830–31)
331:Manhattan
283:, son of
206:Manhattan
181:Architect
1129:(1832).
886:Bank 94.
791:(1832).
725:Plate 26
639:In 1860
434:and his
400:American
391:populist
218:populist
95:New York
1215:at the
1053:, p. 45
1049:Slout,
998:Mazeppa
584:Mazeppa
234:Chinese
230:Germans
200:in the
170: (
155: (
86:Address
2248:Bowery
1553:Disney
1188:
1151:
663:, and
476:, and
446:, the
444:Yankee
442:, the
426:, and
323:ballet
279:, and
232:, and
198:Bowery
176:(Fire)
150:Opened
91:Bowery
700:Notes
630:Irish
327:opera
266:Canal
226:Irish
101:10013
1293:(17)
1268:List
1199:2023
1186:ISBN
1162:2023
1149:ISBN
410:and
389:and
365:and
192:The
1596:CBS
1563:MTC
1500:(3)
1451:(7)
1392:(9)
1119:",
745:257
608:by
571:by
312:by
204:of
89:46
2229::
985:^
972:,
950:,
838:.
811:^
772:^
753:^
636:.
422:,
418:,
325:,
287:.
228:,
208:,
99:NY
1663:)
1659:(
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1541:(
1251:e
1244:t
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1164:.
1135:.
938:.
859:.
797:.
747:.
727:.
600:.
534:.
174:)
159:)
34:.
20:)
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
