Titlebook: Uncle Tom‘s Cabin on the American Stage and Screen; John W. Frick Book 2012 The Editor(s) (if applicable) and The Author(s) 2012 America.d

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PAGAN

,Epilogue: The Story that Won’t Stay Dead,ld be unwarranted; yet as the twenty-first century began, dramatic versions of ., like Broadway itself, continued to rise Lazarus-like from the grave, albeit none were close to the scale of their nineteenth-century ancestors.

invert

,“There is No Arguing with Pictures”: The Aiken/Howard ,d by the “thousands, and tens, and hundreds of thousands,” it was only natural that it should be transferred to the stage. The tone of the article indicated that the novel’s transformation to the stage was hardly a surprise; rather, there was a sense of inevitability about it.

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bifurcate

創(chuàng)新

,“A Play to which No Apologist for Slavery Could Object”: The Conway/Kimball/Barnum ,k companies in Cleveland, Cincinnati, Salt Lake City, Philadelphia, and San Francisco; at Rice’s Theatre in Chicago; and, in a version by Clifton W. Tayleure in Detroit, as well as those in New York. By the end of the year, New Yorkers could see a version of Stowe’s classic at the National; one at B

craven

,“O’ It Was a Sight Worth Seeing”: Uncle Tom Hits the Road,traordinary scene ever presented in our theatrical annals was witnessed [recently] at the NATIONAL.”. In this fashion, Philadelphians learned that “The Cabin,” as the . writer dubbed it, had been brought out in “fine style” and that Uncle Tom mania had seized the city. While the . column applied onl

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Aprope

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