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Due to the fragile nature of these materials, they are unavailable for general use. Contact Special Collections for details. This collection, containing plays as of September , was started early in , soon after the creation of the School of Drama in the University of Washington, with a purchase or donation of at least acting editions from the stock of the play publisher Samuel French, Inc.

The Price Of Blood - An Extravaganza Of New York Life In : Howard Pyle :

Glenn Hughes, the founding Director of the School of Drama was eager to quickly create a strong library for the students and faculty. He was friends with Barrett Harper Clark, an editor at Samuel French, and it is likely through this friendship that the initial accession was made. In a letter to Harry C. This collection is perhaps not unique, but almost so, and was obtained a few years ago through the cooperation of Samuel French, the play publisher, who ransacked all their files and storage rooms for us.

In many instances we obtained the last copy of the play on hand. Most of the subsequent additions to the collection were in the s and s. There are about 60 of these items. Another interesting subset to this collection are about 50 items added from a single collection in December, They appear to have been made for sale or gift to the audience of a performance. The December, accession is primarily made up of Christmas extravaganzas, burlesques, and pantomimes, the predecessors of the British panto tradition. One of the most important accessions to this collection, in terms of theatre history and uniqueness, are the previously owned acting editions that were added in December They were purchased for 8 cents each from an un-named individual in Los Angeles.

They also include notes for acting choices, stage directions, and occasional sketches, casts of specific performances, cuts, and additions. The performances represented were largely done in the middle of the 19th century.

The majority of these scripts and prompt books were owned by J. Biddles at least plays , Ed. Warner, G. Kirk, A. Wallace Thaxter, C. Clifford, and other un-named theatre workers. This is also where a lot of the older and rare publications can be found in the collection. There is also a separate, undated, accession of plays previously owned by William J.

LeMoyne at least 55 plays , some of which include extensive production notations. A third subset of previously owned plays are from Sarah Truax, a 19th and early 20th century actress who retired to Seattle also donated some of her own notated plays to the collection at least 12 plays.

She loved to attend School of Drama productions and then correspond with Glenn Hughes with suggestions and comments about the acting and directing choices. Another friend of Glenn Hughes was William C. DeMille, who appears to have sent some plays owned by himself and his family members in , at about the time that DeMille became the Chair of Drama at the University of Southern California.

Other smaller, but still important subsets of previously owned plays in the collection are from: Ida Vernon at least 9 plays , Edward Tuckerman Mason, A. Bundy, Mason Mitchell, Alice Ramous [sp? Thompson, Frank Smith, J. Fletcher, N. Ludlow, M. Duerna [sp? Purdy, and Ida B. Most of the accessions to this collection were between and These included numerous small donations and sales from Glenn Hughes and Barrett Harper Clark, and smaller gifts from Mrs.

After , there were also donations and purchases from companies: Samuel French, Walter H.

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After some items that were in the General Circulation set of the Drama Library were moved into this collection. The latest accessions were added in about , purchased from a private owner in Great Britain. Glenn Hughes used this collection in the s and s as a teaching and research tool for students in the Drama program. They used bibliographical research, primarily the works of Allardyce Nicoll, to separate the plays into either British or American authors. Each play was labeled accordingly and then stored by author nationality.

When the School of Drama began to offer Masters Degrees in Drama, the Masters students would be assigned a thesis project by Hughes, often based on the strengths of materials available in this collection. From about , Prof.

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Richard Lorenzen made a handlist of the plays in the British part of the collection and convinced the University of Washington Press to reproduce several of them onto microfiche to be distributed to some other Pacific Northwest university libraries. In the s, Prof. Jack Walcott used the work and research of students in the PhD program to record evidence of production history and illustrations of specific performances as found in the collection. Motivated by Prof. Walcott and the Drama Librarian Liz Fugate, Mark Weitzenkamp researched the collection from to to create accurate dating criteria for acting editions.

Then from , with the encouragement and assistance of Sandra Kroupa and Wesley Nelson in Special Collections, Weitzenkamp used those criteria to create this finding aid. One thing that is noticeable about this collection as a representation of the 19th century is that it does not give preference to the canon of dramatic literature as much as it does to the canon of popular entertainment.

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As Prof. Richard Lorenzen said in the preface to his handlist of the British plays in this collection: "The majority of the acting editions are nineteenth-century farces. However, the collection is not as imbalanced as it might first appear. For the most part, the melodramatic selections are various samples from the more widely recognized writers of serious works and together with the farcical authors, the complete collection provides a vivid cross-sectional view of the infinite variety that distinguished the popular English stage.

It may also be that when Samuel French ransacked their store rooms, they came up with the sorts of plays that they could no longer sell to customers interested in modern and literary theatre. It is also a possibility that Hughes did not take the plays that the Drama Library already owned in the various canonical anthologies and collections that were offered in more sturdy, circulating volumes.

However it came about, this collection is a set of vibrant works that show the publication history of plays in the 19th century along with the performative standards of the popular theatre of the period. It does not likely hide the next rare discovery for the Broadway stage, but it can provide a more nuanced understanding of theatre, audience, playwriting, management, and socio-cultural norms of the 19th century in Great Britain and the U. Printed, not published : Titles marked in this fashion were plays put into print, but not released into official publication.

Authors and producers used this tactic to maintain a stricter control over how the plays were used. Christmas extravaganza : Term used to identify the various harlequinades, burlesques, extravaganzas, and pantomimes that were central to the Christmas season in British theatres in the 19th century. These are the predecessors to the modern Christmas pantos still seasonally performed in Britain. Souvenir edition : While an acting edition is generally meant to be a practical tool for use in the preparation of a play for performance, they were also sometimes used as a souvenir of the production to be gifted or sold to the audience of the show.

The Price of Blood: An Extravaganza of New York Life in 1807

Production notation : Many plays in this collection were previously owned by 19th century performers and theatre workers. Some of the plays have more extensive information, including cuts, notes, new text, blocking, cues, or other evidence that could lead to understanding of a specific performance. Previous owner : When a specific item shows who had owned it before it was added to this collection, it is noted after this key phrase.

Protective wrapper : An interesting point of research that could be pursued with this collection is how previous owners have shaped the acting editions to their preference. For example, the protective wrappers often have interesting tidbits of information. Some of these are made from architectural illustrations or advertisements. Title : Whenever possible, the title from the title page has been given. If not the title page, the title has been derived from in order of preference : the front cover, the running title, by comparison with other copies. Subtitle : Whenever possible, the subtitle has been given from the title page, sometimes noting subtitle information from the front cover if it is relevant to sorting out the history of a specific item.

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For this reason, plays by Shakespeare are likely to be listed under the adaptor or performer who shaped it to the version being printed. Whenever possible it has been attempted to list the translator of a play as the author. In many cases, the original author is included in the subtitle information.