North American 19th century theatre broadside collection

Access and use

Location of collection:
George Mason University
2400 Fenwick Library
Special Collections Research Center
Fenwick Library MS2FL
George Mason University
Fairfax, VA 22030
Contact for questions and access:
POC: Mieko Palazzo
Phone: (703) 993-2220
Fax: (703) 993-2669
Restrictions:

There are no access restrictions.

Terms of access:

Public domain. There are no known restrictions.

Preferred citation:

North American 19th century theatre broadside collection, C0081, Special Collections Research Center, George Mason University Libraries.

Summary

Extent:
2 Linear Feet 1 box
Creator:
George Mason University. Libraries. Special Collections Research Center
Abstract:
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.
Language:
English
Preferred citation:

North American 19th century theatre broadside collection, C0081, Special Collections Research Center, George Mason University Libraries.

Background

Scope and content:

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.

Biographical / historical:

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.

Acquisition information:
Purchased in 2008.
Processing information:

Processed by Kate Norman. EAD markup completed by Kate Norman in April 2010.

Arrangement:

Arranged into seven series predominantly by venue. Some single broadsides grouped together.

Series
  1. Series 1: National Theatre of Boston, 1850-1857 (Box 1)
  2. Series 2: Boston Museum, 1852-1858 (Box 1)
  3. Series 3: Boston Theatre, 1854-1858 (Box 1)
  4. Series 4: Howard Anthenaeum, 1851-1857 (Box 1)
  5. Series 5: Boston Academy of Music, 1860 (Box 1)
  6. Series 6: Canada and New York City, 1855-1867 (Box 1)
  7. Series 7: Boston and New York City, 1850s-1860s (Box 1)
Physical location:
R29, C4, S1
Rules or conventions:
Describing Archives: A Content Standard