{"links":{"self":"https://search.arvasarchive.org/catalog.json?f%5Baccess_subjects%5D%5B%5D=Performing+arts\u0026f%5Bplaces%5D%5B%5D=Canada\u0026view=compact","last":"https://search.arvasarchive.org/catalog.json?f%5Baccess_subjects%5D%5B%5D=Performing+arts\u0026f%5Bplaces%5D%5B%5D=Canada\u0026page=1\u0026view=compact"},"meta":{"pages":{"current_page":1,"next_page":null,"prev_page":null,"total_pages":1,"limit_value":10,"offset_value":0,"total_count":1,"first_page?":true,"last_page?":true}},"data":[{"id":"vifgm_repositories_2_resources_37","type":"collection","attributes":{"title":"North American 19th century theatre broadside collection","creator":{"id":"https://search.arvasarchive.org/catalog/vifgm_repositories_2_resources_37#creator","type":"document_value","attributes":{"value":"George Mason University. Libraries. Special Collections Research Center","label":"Creator"}},"abstract_or_scope":{"id":"https://search.arvasarchive.org/catalog/vifgm_repositories_2_resources_37#abstract_or_scope","type":"document_value","attributes":{"value":"This collection contains around 100 theatre broadsides from the mid-nineteenth century. Nearly all of the broadsides were published in Boston, advertising theatre, opera, and lighter fare in various Boston venues.","label":"Abstract Or Scope"}},"breadcrumbs":{"id":"https://search.arvasarchive.org/catalog/vifgm_repositories_2_resources_37#breadcrumbs","type":"document_value","attributes":{"value":{"id":"vifgm_repositories_2_resources_37","ead_ssi":"vifgm_repositories_2_resources_37","_root_":"vifgm_repositories_2_resources_37","_nest_parent_":"vifgm_repositories_2_resources_37","ead_source_url_ssi":"data/oai/GMU/repositories_2_resources_37.xml","title_filing_ssi":"North American 19th century theatre broadside collection","title_ssm":["North American 19th century theatre broadside collection"],"title_tesim":["North American 19th century theatre broadside collection"],"unitdate_ssm":["1850-1867"],"unitdate_inclusive_ssm":["1850-1867"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["C0081","/repositories/2/resources/37"],"text":["C0081","/repositories/2/resources/37","North American 19th century theatre broadside collection","Boston (Mass.) ","New York (N.Y.) ","Canada","Theater","Theater -- United States","Theater -- New York (State) -- New York","Performing arts","Broadsides -- 1850-1870","Theatrical posters","There are no access restrictions.","Arranged into seven series predominantly by venue. Some single broadsides grouped together.","Series Series 1: National Theatre of Boston, 1850-1857 (Box 1) Series 2: Boston Museum, 1852-1858 (Box 1) Series 3: Boston Theatre, 1854-1858 (Box 1) Series 4: Howard Anthenaeum, 1851-1857 (Box 1) Series 5: Boston Academy of Music, 1860 (Box 1) Series 6: Canada and New York City, 1855-1867 (Box 1) Series 7: Boston and New York City, 1850s-1860s (Box 1)"," Since the eighteenth century, theatre-going in Boston has been quite popular, even if not entirely legal. In the eighteenth and nineteenth centuries, Boston was in conflict between a Puritan history and artistic freedom. Theaters often used non-controversial or misleading names (such as the Boston Museum) to partially disguise their identity as a theatre. However, this struggle between religious and artistic ideas lasted into the 20th century. "," Theatre in Boston flourished throughout most of the nineteenth century despite this ongoing feud. Smaller playhouses led to more prominent theatres such as the Boston Theatre (1854-1925), Boston Museum (1841-1903), and the Howard Anthenaeum (1845-1953). These major theatres were generally located close to Boston's commercial center and the Beacon Hill residences of affluent theatre attendees. ","Processed by Kate Norman. EAD markup completed by Kate Norman in April 2010.","The Special Collections Research CEnter also holds many other  .","This collection contains around 100 theatre broadsides from the mid-nineteenth century. Nearly all of the broadsides were published in Boston, advertising theatre, opera, and lighter fare in various Boston venues. Other locations include venues in New York and Canada. The collection contains an estimated forty broadside bills for performances at the Boston Theatre between 1954-1958, thirty for performances at the Howard Anthenaeum between 1951-1957, twenty at the Boston Museum in 1952-1958, and others at the Boston National Theatre, the Boston Academy of Music, and City Hall. ","Most of the broadsides measure approximately 7\" x 19\", with some variation, and feature classic nineteenth-century typography with artful fonts and little pointing hands. Some of the broadsides are also accompanied by interesting graphics along the margins. The collection includes ads for such varied bills as Adelina Patti in Donizetti's Lucia Di Lammermoor; G.G. Spear in the drama, Moll Pitcher! The Fortune Teller; a Pyne and Harrison Opera Company production of Rip Van Winkle; and a drama by Dion Boucicault and E. H. House titled Arrah-Na-Pogue! Or, the Wicklow Wedding, which advertises segregated seating for blacks and warns that women will not be admitted if unaccompanied by a man. ","Public domain. There are no known restrictions.","This collection contains around 100 theatre broadsides from the mid-nineteenth century. Nearly all of the broadsides were published in Boston, advertising theatre, opera, and lighter fare in various Boston venues.","R29, C4, S1","George Mason University. Libraries. 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Some single broadsides grouped together.\u003c/p\u003e","\u003clist type=\"ordered\"\u003e\n      \u003chead\u003eSeries\u003c/head\u003e\n      \u003citem\u003eSeries 1: National Theatre of Boston, 1850-1857 (Box 1)\u003c/item\u003e\n      \u003citem\u003eSeries 2: Boston Museum, 1852-1858 (Box 1)\u003c/item\u003e\n      \u003citem\u003eSeries 3: Boston Theatre, 1854-1858 (Box 1)\u003c/item\u003e\n      \u003citem\u003eSeries 4: Howard Anthenaeum, 1851-1857 (Box 1)\u003c/item\u003e\n      \u003citem\u003eSeries 5: Boston Academy of Music, 1860 (Box 1)\u003c/item\u003e\n      \u003citem\u003eSeries 6: Canada and New York City, 1855-1867 (Box 1)\u003c/item\u003e\n      \u003citem\u003eSeries 7: Boston and New York City, 1850s-1860s (Box 1)\u003c/item\u003e\n    \u003c/list\u003e"],"arrangement_heading_ssm":["Arrangement"],"arrangement_tesim":["Arranged into seven series predominantly by venue. Some single broadsides grouped together.","Series Series 1: National Theatre of Boston, 1850-1857 (Box 1) Series 2: Boston Museum, 1852-1858 (Box 1) Series 3: Boston Theatre, 1854-1858 (Box 1) Series 4: Howard Anthenaeum, 1851-1857 (Box 1) Series 5: Boston Academy of Music, 1860 (Box 1) Series 6: Canada and New York City, 1855-1867 (Box 1) Series 7: Boston and New York City, 1850s-1860s (Box 1)"],"bioghist_html_tesm":["\u003cp\u003e Since the eighteenth century, theatre-going in Boston has been quite popular, even if not entirely legal. In the eighteenth and nineteenth centuries, Boston was in conflict between a Puritan history and artistic freedom. Theaters often used non-controversial or misleading names (such as the Boston Museum) to partially disguise their identity as a theatre. However, this struggle between religious and artistic ideas lasted into the 20th century. \u003c/p\u003e\n","\u003cp\u003e Theatre in Boston flourished throughout most of the nineteenth century despite this ongoing feud. Smaller playhouses led to more prominent theatres such as the Boston Theatre (1854-1925), Boston Museum (1841-1903), and the Howard Anthenaeum (1845-1953). These major theatres were generally located close to Boston's commercial center and the Beacon Hill residences of affluent theatre attendees. \u003c/p\u003e"],"bioghist_heading_ssm":["Historical Information"],"bioghist_tesim":[" Since the eighteenth century, theatre-going in Boston has been quite popular, even if not entirely legal. In the eighteenth and nineteenth centuries, Boston was in conflict between a Puritan history and artistic freedom. Theaters often used non-controversial or misleading names (such as the Boston Museum) to partially disguise their identity as a theatre. However, this struggle between religious and artistic ideas lasted into the 20th century. "," Theatre in Boston flourished throughout most of the nineteenth century despite this ongoing feud. Smaller playhouses led to more prominent theatres such as the Boston Theatre (1854-1925), Boston Museum (1841-1903), and the Howard Anthenaeum (1845-1953). These major theatres were generally located close to Boston's commercial center and the Beacon Hill residences of affluent theatre attendees. "],"prefercite_html_tesm":["\u003cp\u003eNorth American 19th century theatre broadside collection, C0081, Special Collections Research Center, George Mason University Libraries.\u003c/p\u003e"],"prefercite_tesim":["North American 19th century theatre broadside collection, C0081, Special Collections Research Center, George Mason University Libraries."],"processinfo_html_tesm":["\u003cp\u003eProcessed by Kate Norman. EAD markup completed by Kate Norman in April 2010.\u003c/p\u003e"],"processinfo_heading_ssm":["Processing Information"],"processinfo_tesim":["Processed by Kate Norman. EAD markup completed by Kate Norman in April 2010."],"relatedmaterial_html_tesm":["\u003cp\u003eThe Special Collections Research CEnter also holds many other \u003cextptr show=\"new\" title=\"theatre collections\" href=\"https://aspace.gmu.edu/subjects/sh85134522\"\u003e\u003c/extptr\u003e.\u003c/p\u003e"],"relatedmaterial_heading_ssm":["Related Material"],"relatedmaterial_tesim":["The Special Collections Research CEnter also holds many other  ."],"scopecontent_html_tesm":["\u003cp\u003eThis collection contains around 100 theatre broadsides from the mid-nineteenth century. Nearly all of the broadsides were published in Boston, advertising theatre, opera, and lighter fare in various Boston venues. Other locations include venues in New York and Canada. The collection contains an estimated forty broadside bills for performances at the Boston Theatre between 1954-1958, thirty for performances at the Howard Anthenaeum between 1951-1957, twenty at the Boston Museum in 1952-1958, and others at the Boston National Theatre, the Boston Academy of Music, and City Hall. \u003c/p\u003e\n","\u003cp\u003eMost of the broadsides measure approximately 7\" x 19\", with some variation, and feature classic nineteenth-century typography with artful fonts and little pointing hands. Some of the broadsides are also accompanied by interesting graphics along the margins. The collection includes ads for such varied bills as Adelina Patti in Donizetti's Lucia Di Lammermoor; G.G. Spear in the drama, Moll Pitcher! The Fortune Teller; a Pyne and Harrison Opera Company production of Rip Van Winkle; and a drama by Dion Boucicault and E. H. House titled Arrah-Na-Pogue! Or, the Wicklow Wedding, which advertises segregated seating for blacks and warns that women will not be admitted if unaccompanied by a man. \u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Content"],"scopecontent_tesim":["This collection contains around 100 theatre broadsides from the mid-nineteenth century. Nearly all of the broadsides were published in Boston, advertising theatre, opera, and lighter fare in various Boston venues. Other locations include venues in New York and Canada. The collection contains an estimated forty broadside bills for performances at the Boston Theatre between 1954-1958, thirty for performances at the Howard Anthenaeum between 1951-1957, twenty at the Boston Museum in 1952-1958, and others at the Boston National Theatre, the Boston Academy of Music, and City Hall. ","Most of the broadsides measure approximately 7\" x 19\", with some variation, and feature classic nineteenth-century typography with artful fonts and little pointing hands. Some of the broadsides are also accompanied by interesting graphics along the margins. The collection includes ads for such varied bills as Adelina Patti in Donizetti's Lucia Di Lammermoor; G.G. Spear in the drama, Moll Pitcher! The Fortune Teller; a Pyne and Harrison Opera Company production of Rip Van Winkle; and a drama by Dion Boucicault and E. H. House titled Arrah-Na-Pogue! Or, the Wicklow Wedding, which advertises segregated seating for blacks and warns that women will not be admitted if unaccompanied by a man. "],"userestrict_html_tesm":["\u003cp\u003ePublic domain. There are no known restrictions.\u003c/p\u003e"],"userestrict_heading_ssm":["Use Restrictions"],"userestrict_tesim":["Public domain. There are no known restrictions."],"abstract_html_tesm":["\u003cabstract id=\"aspace_d05ea848f0d59764ae39f991551616c8\" label=\"Abstract\"\u003eThis collection contains around 100 theatre broadsides from the mid-nineteenth century. Nearly all of the broadsides were published in Boston, advertising theatre, opera, and lighter fare in various Boston venues.\u003c/abstract\u003e"],"abstract_tesim":["This collection contains around 100 theatre broadsides from the mid-nineteenth century. Nearly all of the broadsides were published in Boston, advertising theatre, opera, and lighter fare in various Boston venues."],"physloc_html_tesm":["\u003cphysloc id=\"aspace_32a9d920136e071738de0b78dff77807\"\u003eR29, C4, S1\u003c/physloc\u003e"],"physloc_tesim":["R29, C4, S1"],"names_coll_ssim":["Boston Museum and Gallery of Fine Arts","Boston Theatre (Washington Street, Boston, Mass.)","Howard Athenaeum"],"names_ssim":["George Mason University. Libraries. Special Collections Research Center","Boston Museum and Gallery of Fine Arts","Boston Theatre (Washington Street, Boston, Mass.)","Howard Athenaeum"],"corpname_ssim":["George Mason University. Libraries. 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","New York (N.Y.) ","Canada","Theater","Theater -- United States","Theater -- New York (State) -- New York","Performing arts","Broadsides -- 1850-1870","Theatrical posters","There are no access restrictions.","Arranged into seven series predominantly by venue. Some single broadsides grouped together.","Series Series 1: National Theatre of Boston, 1850-1857 (Box 1) Series 2: Boston Museum, 1852-1858 (Box 1) Series 3: Boston Theatre, 1854-1858 (Box 1) Series 4: Howard Anthenaeum, 1851-1857 (Box 1) Series 5: Boston Academy of Music, 1860 (Box 1) Series 6: Canada and New York City, 1855-1867 (Box 1) Series 7: Boston and New York City, 1850s-1860s (Box 1)"," Since the eighteenth century, theatre-going in Boston has been quite popular, even if not entirely legal. In the eighteenth and nineteenth centuries, Boston was in conflict between a Puritan history and artistic freedom. Theaters often used non-controversial or misleading names (such as the Boston Museum) to partially disguise their identity as a theatre. However, this struggle between religious and artistic ideas lasted into the 20th century. "," Theatre in Boston flourished throughout most of the nineteenth century despite this ongoing feud. Smaller playhouses led to more prominent theatres such as the Boston Theatre (1854-1925), Boston Museum (1841-1903), and the Howard Anthenaeum (1845-1953). These major theatres were generally located close to Boston's commercial center and the Beacon Hill residences of affluent theatre attendees. ","Processed by Kate Norman. EAD markup completed by Kate Norman in April 2010.","The Special Collections Research CEnter also holds many other  .","This collection contains around 100 theatre broadsides from the mid-nineteenth century. Nearly all of the broadsides were published in Boston, advertising theatre, opera, and lighter fare in various Boston venues. Other locations include venues in New York and Canada. The collection contains an estimated forty broadside bills for performances at the Boston Theatre between 1954-1958, thirty for performances at the Howard Anthenaeum between 1951-1957, twenty at the Boston Museum in 1952-1958, and others at the Boston National Theatre, the Boston Academy of Music, and City Hall. ","Most of the broadsides measure approximately 7\" x 19\", with some variation, and feature classic nineteenth-century typography with artful fonts and little pointing hands. Some of the broadsides are also accompanied by interesting graphics along the margins. The collection includes ads for such varied bills as Adelina Patti in Donizetti's Lucia Di Lammermoor; G.G. Spear in the drama, Moll Pitcher! The Fortune Teller; a Pyne and Harrison Opera Company production of Rip Van Winkle; and a drama by Dion Boucicault and E. H. House titled Arrah-Na-Pogue! Or, the Wicklow Wedding, which advertises segregated seating for blacks and warns that women will not be admitted if unaccompanied by a man. ","Public domain. There are no known restrictions.","This collection contains around 100 theatre broadsides from the mid-nineteenth century. Nearly all of the broadsides were published in Boston, advertising theatre, opera, and lighter fare in various Boston venues.","R29, C4, S1","George Mason University. Libraries. Special Collections Research Center","Boston Museum and Gallery of Fine Arts","Boston Theatre (Washington Street, Boston, Mass.)","Howard Athenaeum","English"],"unitid_tesim":["C0081","/repositories/2/resources/37"],"normalized_title_ssm":["North American 19th century theatre broadside collection"],"collection_title_tesim":["North American 19th century theatre broadside collection"],"collection_ssim":["North American 19th century theatre broadside collection"],"repository_ssm":["George Mason University"],"repository_ssim":["George Mason University"],"geogname_ssm":["Boston (Mass.) ","New York (N.Y.) ","Canada"],"geogname_ssim":["Boston (Mass.) ","New York (N.Y.) ","Canada"],"creator_ssm":["George Mason University. Libraries. Special Collections Research Center"],"creator_ssim":["George Mason University. Libraries. Special Collections Research Center"],"creator_corpname_ssim":["George Mason University. Libraries. 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There are no known restrictions."],"acqinfo_ssim":["Purchased in 2008."],"access_subjects_ssim":["Theater","Theater -- United States","Theater -- New York (State) -- New York","Performing arts","Broadsides -- 1850-1870","Theatrical posters"],"access_subjects_ssm":["Theater","Theater -- United States","Theater -- New York (State) -- New York","Performing arts","Broadsides -- 1850-1870","Theatrical posters"],"has_online_content_ssim":["false"],"extent_ssm":["2 Linear Feet 1 box"],"extent_tesim":["2 Linear Feet 1 box"],"genreform_ssim":["Broadsides -- 1850-1870","Theatrical posters"],"accessrestrict_html_tesm":["\u003cp\u003eThere are no access restrictions.\u003c/p\u003e"],"accessrestrict_heading_ssm":["Access Restrictions"],"accessrestrict_tesim":["There are no access restrictions."],"arrangement_html_tesm":["\u003cp\u003eArranged into seven series predominantly by venue. Some single broadsides grouped together.\u003c/p\u003e","\u003clist type=\"ordered\"\u003e\n      \u003chead\u003eSeries\u003c/head\u003e\n      \u003citem\u003eSeries 1: National Theatre of Boston, 1850-1857 (Box 1)\u003c/item\u003e\n      \u003citem\u003eSeries 2: Boston Museum, 1852-1858 (Box 1)\u003c/item\u003e\n      \u003citem\u003eSeries 3: Boston Theatre, 1854-1858 (Box 1)\u003c/item\u003e\n      \u003citem\u003eSeries 4: Howard Anthenaeum, 1851-1857 (Box 1)\u003c/item\u003e\n      \u003citem\u003eSeries 5: Boston Academy of Music, 1860 (Box 1)\u003c/item\u003e\n      \u003citem\u003eSeries 6: Canada and New York City, 1855-1867 (Box 1)\u003c/item\u003e\n      \u003citem\u003eSeries 7: Boston and New York City, 1850s-1860s (Box 1)\u003c/item\u003e\n    \u003c/list\u003e"],"arrangement_heading_ssm":["Arrangement"],"arrangement_tesim":["Arranged into seven series predominantly by venue. Some single broadsides grouped together.","Series Series 1: National Theatre of Boston, 1850-1857 (Box 1) Series 2: Boston Museum, 1852-1858 (Box 1) Series 3: Boston Theatre, 1854-1858 (Box 1) Series 4: Howard Anthenaeum, 1851-1857 (Box 1) Series 5: Boston Academy of Music, 1860 (Box 1) Series 6: Canada and New York City, 1855-1867 (Box 1) Series 7: Boston and New York City, 1850s-1860s (Box 1)"],"bioghist_html_tesm":["\u003cp\u003e Since the eighteenth century, theatre-going in Boston has been quite popular, even if not entirely legal. In the eighteenth and nineteenth centuries, Boston was in conflict between a Puritan history and artistic freedom. Theaters often used non-controversial or misleading names (such as the Boston Museum) to partially disguise their identity as a theatre. However, this struggle between religious and artistic ideas lasted into the 20th century. \u003c/p\u003e\n","\u003cp\u003e Theatre in Boston flourished throughout most of the nineteenth century despite this ongoing feud. Smaller playhouses led to more prominent theatres such as the Boston Theatre (1854-1925), Boston Museum (1841-1903), and the Howard Anthenaeum (1845-1953). These major theatres were generally located close to Boston's commercial center and the Beacon Hill residences of affluent theatre attendees. \u003c/p\u003e"],"bioghist_heading_ssm":["Historical Information"],"bioghist_tesim":[" Since the eighteenth century, theatre-going in Boston has been quite popular, even if not entirely legal. In the eighteenth and nineteenth centuries, Boston was in conflict between a Puritan history and artistic freedom. Theaters often used non-controversial or misleading names (such as the Boston Museum) to partially disguise their identity as a theatre. However, this struggle between religious and artistic ideas lasted into the 20th century. "," Theatre in Boston flourished throughout most of the nineteenth century despite this ongoing feud. Smaller playhouses led to more prominent theatres such as the Boston Theatre (1854-1925), Boston Museum (1841-1903), and the Howard Anthenaeum (1845-1953). These major theatres were generally located close to Boston's commercial center and the Beacon Hill residences of affluent theatre attendees. "],"prefercite_html_tesm":["\u003cp\u003eNorth American 19th century theatre broadside collection, C0081, Special Collections Research Center, George Mason University Libraries.\u003c/p\u003e"],"prefercite_tesim":["North American 19th century theatre broadside collection, C0081, Special Collections Research Center, George Mason University Libraries."],"processinfo_html_tesm":["\u003cp\u003eProcessed by Kate Norman. EAD markup completed by Kate Norman in April 2010.\u003c/p\u003e"],"processinfo_heading_ssm":["Processing Information"],"processinfo_tesim":["Processed by Kate Norman. EAD markup completed by Kate Norman in April 2010."],"relatedmaterial_html_tesm":["\u003cp\u003eThe Special Collections Research CEnter also holds many other \u003cextptr show=\"new\" title=\"theatre collections\" href=\"https://aspace.gmu.edu/subjects/sh85134522\"\u003e\u003c/extptr\u003e.\u003c/p\u003e"],"relatedmaterial_heading_ssm":["Related Material"],"relatedmaterial_tesim":["The Special Collections Research CEnter also holds many other  ."],"scopecontent_html_tesm":["\u003cp\u003eThis collection contains around 100 theatre broadsides from the mid-nineteenth century. Nearly all of the broadsides were published in Boston, advertising theatre, opera, and lighter fare in various Boston venues. Other locations include venues in New York and Canada. The collection contains an estimated forty broadside bills for performances at the Boston Theatre between 1954-1958, thirty for performances at the Howard Anthenaeum between 1951-1957, twenty at the Boston Museum in 1952-1958, and others at the Boston National Theatre, the Boston Academy of Music, and City Hall. \u003c/p\u003e\n","\u003cp\u003eMost of the broadsides measure approximately 7\" x 19\", with some variation, and feature classic nineteenth-century typography with artful fonts and little pointing hands. Some of the broadsides are also accompanied by interesting graphics along the margins. The collection includes ads for such varied bills as Adelina Patti in Donizetti's Lucia Di Lammermoor; G.G. Spear in the drama, Moll Pitcher! The Fortune Teller; a Pyne and Harrison Opera Company production of Rip Van Winkle; and a drama by Dion Boucicault and E. H. House titled Arrah-Na-Pogue! Or, the Wicklow Wedding, which advertises segregated seating for blacks and warns that women will not be admitted if unaccompanied by a man. \u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Content"],"scopecontent_tesim":["This collection contains around 100 theatre broadsides from the mid-nineteenth century. Nearly all of the broadsides were published in Boston, advertising theatre, opera, and lighter fare in various Boston venues. Other locations include venues in New York and Canada. The collection contains an estimated forty broadside bills for performances at the Boston Theatre between 1954-1958, thirty for performances at the Howard Anthenaeum between 1951-1957, twenty at the Boston Museum in 1952-1958, and others at the Boston National Theatre, the Boston Academy of Music, and City Hall. ","Most of the broadsides measure approximately 7\" x 19\", with some variation, and feature classic nineteenth-century typography with artful fonts and little pointing hands. Some of the broadsides are also accompanied by interesting graphics along the margins. The collection includes ads for such varied bills as Adelina Patti in Donizetti's Lucia Di Lammermoor; G.G. Spear in the drama, Moll Pitcher! The Fortune Teller; a Pyne and Harrison Opera Company production of Rip Van Winkle; and a drama by Dion Boucicault and E. H. House titled Arrah-Na-Pogue! Or, the Wicklow Wedding, which advertises segregated seating for blacks and warns that women will not be admitted if unaccompanied by a man. "],"userestrict_html_tesm":["\u003cp\u003ePublic domain. There are no known restrictions.\u003c/p\u003e"],"userestrict_heading_ssm":["Use Restrictions"],"userestrict_tesim":["Public domain. There are no known restrictions."],"abstract_html_tesm":["\u003cabstract id=\"aspace_d05ea848f0d59764ae39f991551616c8\" label=\"Abstract\"\u003eThis collection contains around 100 theatre broadsides from the mid-nineteenth century. 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