Summary Of The Theater In America During The Revolution By Jared Brown

Jared Brown wrote The Theater in America During the Revolution pulls together information in these foundational histories, supplying them with research in contemporary newspapers and playbills. Brown declares what he thinks should be considered American drama by focusing on all theatre happening during the Revolutionary War. The difficulties of defining American literature increased with the addition of theater, where individuals, troupes, and texts traveled between Europe and the colonies. Brown’s book helps narrow the scope to the theatrical events occurring within geographical bounds. By focusing on the entertainment value of plays performed by both sides’ soldiers. Brown cannot disregard the pamphlet plays since they were intended as propaganda and hold ideological traits. Religious and economic opposition became rising forces in the nationalist air as relations between the colonies and Britain quickly deteriorated through the 1760s. It was seen as shameful as the elite members of the colonies would spend their money on British actors performing in British plays which
inadvertently promoted British Values. Theatre by May 1766 was so politicized to an extent which outraged the New York Sons of Liberty. Upon the Sons of Liberty learning of the repeal of the hated Stamp Act attacked and destroyed the Chapel Street Theater as it symbolized British Oppression. A cross-dressing actor was severely beaten and a small child was killed. The American-wide boycott of Theater was spread with the desire of proper morality, frugality, and national pride. After the Revolutionary War, the American Company returned to New York City from Jamaica.
A large reason they returned was David Douglass had died and taken over was Hallam. After Hallam took over they produced what is strongly believed to be the first important American Play. This very important play was written by a Harvard-educated lawyer and army officer, Royall Tyler. The Contrast written by Tyler debuted in New York March 1787. The cast includes a Revolutionary War veteran, a natural nobleman, and a decent of a long line of Yankees. Tyler closely compares American and British attitudes but had clear favoritism for the Americans. Themes of patriotism, belief in love conquers all, references to fashion and of the time are present in this play. The Contrast performed in Baltimore, Philadelphia, and Boston and was hit, it was also popular in the twenty-first century as
revivals. In spite of the Theater ban in April and May of 1778 George Washington approved a series of performances. Officers of the Continental Army performed in the plays in Valley Forge outside Philadelphia. Washington’s enthusiasm rubbed off on his officers and they themselves started to perform plays of their own once Philadelphia was retaken from the British. Cato and The Recruiting Officer were popular amongst the soldiers.
On October 12, 1778, Congress responded to the Army’s refusal to obey by passing injunctions that were more direct to the point. “Whereas true religion and good morals are the only solid foundations of public liberty and happiness: Resolved, That it be, and it I hereby earnestly recommended to the several states, to take the most effectual measures for the encouragement thereof, and for the suppressing of theatrical entertainments, horse racing, gaming, and such other diversions as are productive of idleness, dissipation, and a general depravity of principle and manners. Resolved, That all officers in the army of the United States, be, and hereby are strictly enjoined to see that the good and wholesome rules provided for discountenancing of profaneness and vice, and the preservation of morals among the soldiers, are duly and punctually observed. (Continental Congress, 1778).
Congress later passed another injunction for good measure. “Whereas frequenting playhouses and theatrical entertainments has a fatal tendency to divert the minds of the people from a due attention to the means necessary for the defense of their country, and the preservation of their liberties: Resolved, That any person holding an office under the United States, who shall act, promote, encourage or attend such plays, shall be deemed unworthy to hold such office, and shall be accordingly dismissed.” (Continental Congress 1778). Washington’s army was momentarily distracted from theater due to the requirements of the war until after the Battle of Yorktown.
Negative opinions remained about theater until well after peace, a result of that was performances done in Boston and Philadelphia did not receive any official sanctions until the 1790’s. By that time a greater appreciation of theater started to develop thanks to the American military performances. American plays such as The Contrast by Royall Tyler about New York society Women and William Dunlap controversial 1798 analysis of the Benedict Arnold affair become a widely performed play.
An organized effort won a losing war against theatrical intolerance in Pennsylvania. In early January 1789, a Dramatic Association was formed in Philadelphia. The first meeting was held at a City Tavern on January 12th, 1789. This meeting consisted of a committee which was made up of the following, Walter Stewart, John Barclay, Robert Bass, Jacob Barge, Joseph Redman, William Temple Franklin, T.L. Moore, James Crawford and John West. They were appointed to petition the General Assembly for any and all parts of any law prohibiting dramatic entertainment. The 16th of February was when this petition was first presented. These petitioners took a broad ground saying that if the theatre was not tolerated that a source of rational amusement would be destroyed. They continued by saying that every freeman would forfeiture of natural rights that they ought to the right of acting if they so wish in an indifferent matter all for the well-being of the community.
General Wayne “Mad Anthony” was a supporter of Drama was also a signer of the Declaration of Independence. General Wayne also saw Theatre was an effective engine that would improve morals instead of a dangerous instrument the General saw it as a happy and efficient one. Robert Morris declared that the effect of the theatre was favorable to both morals and manners. Morris hoped to see American poets suiting plays to American themes. George Clymer presented a different argument. Clymer said that theatre was necessary and must come.
On the 23rd of February for the second time, the bill to repeal the Act of Prohibition was read in the General Assembly. The entire bill was based upon a report of the committee Assembly to whom they referred a petition asking for the licensing of a Theatre in or near Philadelphia. Before the presentation of the petition by the Dramatic Association, a public petition had been presented to the Assembly signed by two thousand people. “Men of science, friends to virtue and approved guardians of their country” were what the committee described the signers as. A counter-petition was comprised 3, 446 names and including was charged school-boys, bound servants, and Negroes who were also presented to the Assembly on the same day. Even the inhabitants of the village of Darby joined the protest against a theatre. The opposition to the drama as strong as it was finally proved unavailing.
The first President of the United States had just been elected and all public interest was absorbed with preparations that were in motion to put the new government into working order. The Dramatic Association of Philadelphia succeeded in the final effort to make the Stage free.