By O. Johnson
History, they are saying, has a dirty tongue. with regards to colonial theatre in the US, what we all know approximately functionality has come from the detractors of theatre and never its manufacturers. but this doesn't account for the flourishing theatrical circuit tested among 1760 and 1776. This examine explores the culture's social help of the theatre.
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Extra info for Absence and Memory in Colonial American Theatre: Fiorelli’s Plaster
Such an attitude toward their markets characterized the Virginia Company as a sort of pirate raid on the economy of the colony: they came, they plundered, they absconded. Verling neither built theatres nor owned theatres, nor did he maintain buildings, leases, or residency in the colonies in which he worked. " Working Up from Postholes 31 The Citizen In sharp contrast to the practices of his predecessors and contemporaries, David Douglass managed his American Company with an eye toward permanence, as a property holder and part-time citizen of the communities for which he played.
43 Rental notices also provide indirect evidence of Douglass's playhouses in the smaller hamlets of Norfolk and Petersburg, Virginia, of which we know little else. Permanent theatres at both of these sites have hitherto only been the subject of speculation, but diary entries of several itinerant Methodist preachers reveal rental arrangements for the playhouses in Norfolk, Williamsburg, and Petersburg. 44 Joseph Pilmore, traveling through Virginia in the summer of 1772, rented the playhouse in Norfolk.
After he and the American Company left the city, Douglass contracted with the same prominent lawyer who sued Verling, Samuel Chase, to act as a rental agent for the property. Chase rented the building to St. Anne's Parish as a church: The Vestry agreed with Mr. Quynn on behalf of Mr. Douglass to allow him the Sum of Twenty pounds yearly for the use of the Playhouse for a Church for this Parish. 39 This is all the more profitable when the terms of the original lease are revisited. Douglass leased the lot from William Reynolds, who ran what is still Reynold's Tavern and owned much of what is lot 60, off Church Circle bounded by West Street.
Absence and Memory in Colonial American Theatre: Fiorelli’s Plaster by O. Johnson