G
-Geordie,,
Guest
a list would be nice 
You are using an out of date browser. It may not display this or other websites correctly.
You should upgrade or use an alternative browser.
You should upgrade or use an alternative browser.
B
bearstirringfromcave
Guest
Ever hear the phrase "Give my regards to Broadway," that comes via George M Cohan who wrote many plays at the turn of the 20th Century - - - - others that come to mind are George Kaufman and novelist Edna Ferber who took Broadway by storm during the 1920's.. .. .. Now gonna go with cut & paste..
http://www.talkinbroadway.com/bway101/2.html
""1900-1910, Give My Regards To Broadway!
The first decade of the 20th Century was both boring and transformational in the history of "our" Broadway. The seeds of that transformation go back to 1882, and the construction of The Madison Square Theater at 24th Street. The Mallorys, who had built the theater, had employed a young actor-manager from San Francisco along with two brothers from the lower Eastside to help manage the theater. David Belasco, who had the distinction of appearing on stage with another unknown child, Maude Adams, in San Francisco in 1877, was soon to become a playwright, theater owner and builder. The two brothers from the lower Eastside were, of course, Charles and Daniel Frohman. The first sign of the transformation occurred when producer Rudolf Aronson decided to build a theater of his own. At the time, theater was concentrated between Union Square and 24th Street.
While looking for space in the area, Aronson was approached by a friend who had a vacant lot "way up-town", at Broadway and 39th Street. Procuring financing from some of the wealthiest finance wizards of the day, the Goulds, Roosevelts, Vanderbilts and Morgans, Aronson built a splendid theater on that site. When it opened in 1882, the Casino was considered the finest example of Moorish architecture outside of Spain. It was also considered too far from the center of things to ever make a profit. It did modestly well for the first ten years, offering not only light operas and operettas, but New York's first "roof garden". Aronson was ousted in 1892, when his change of venue to vaudeville flopped. But he had, under his management, brought some of theater's best-known stars up-town. Lillian Russell and Marie Dressler, were among the stars who appeared for Aronson.
Daniel Frohman had departed the Mallorys, and was establishing a repertory company and a reputation at the Lyceum theater on 24th Street. He had taken David Belasco with him as the "house writer". Charles Frohman had begun his separate career as the manager of theater professionals and in 1893, opened his own theater, The Empire, one block up from the Casino. In November of that Year, Abbey's Theater opened next door to the Casino, and the uptown migration of the theater continued. The Casino led the way for a number of entrepreneurs to build in the vicinity of Longacre Square; a long open promenade where Broadway crossed 7th Ave. Following Aronson's lead, the likes of Charles Frohman, Henry Abbey, and Oscar Hammerstein and the Shuberts were among the investors and creators of the new theater district.
The first decade of this century witnessed the creation of numerous theaters in the new Longacre Square area. And, in 1902, when the Hotel Pabst was razed to allow the Times Building to be built on that spot, Longacre Square became Times Square. New theaters in the area include the Victoria, At 42nd St. and Seventh Ave., built in 1899; the Republic, on 42nd St. built in 1900; the Lyric, a few doors down and next door to that, the New Amsterdam, both built in 1903. The following year the Lew Fields theater was built on the same block. There were several others built in the area from 39th Street to 45th Street, and some enterprising individuals were progressing even further uptown to Columbus Circle and Central Park West.
Belasco separated from Daniel Frohman and was producing his own shows, generally the same style of melodrama and light comedy that was popular at the time, and Charles Frohman had become a "star-maker". Working both in the United States and in Europe, he had acquired the contracts of a number of actors and actresses. He had an uncanny ability to link certain roles to certain personalities to maximize their appeal to the public. An example is Maude Adams, who had grown up on stage, but had little or no "presence". Frohman managed to talk James Barrie into writing a script for his novel, The Little Minister, as a vehicle for Miss Adams. Produced first in Drury Lane, then in New York, both the play and Miss Adams were received enthusiastically. By 1901, Miss Adams, in her second Barrie play, Quality Street, was a bankable box-office draw.
In 1905, Frohman again assailed Barrie to write a script from one of his novels; an improbable play concerning alligators and pirates, baby-sitting dogs, little boys trapped in eternal child-hood and a character that was a wandering spot of light. When Maude Adams stepped to the apron and asked if the audience believed in fairies, the theater roared. Miss Adams, the play and Frohman became theater legends. She played the role for eight years and although Peter Pan was not made into a full-fledged Broadway musical until 1954, for Mary Martin , the play was always accompanied by music and Peter always sang a song or two, usually songs that were popular at the time.
Theater during the "Gay Nineties" was still an ensemble production. Stars and their "hits" were still packing their trunks, and since trucks and buses weren't available, they boarded trains, often with the greater stars in their own private cars, to take their shows on the road. Traveling across country, the whistle-stops and one-night- stands were very lucrative for performers. To insure that his stars had lucrative routes and theaters along the way, particularly in the smaller towns, Charles Frohman instigated the creation of the "Syndicate". They picked the stars, the plays, and the theaters for the entire season. Though Erlanger controlled the Syndicate, Frohman's influence was such that he controlled the open time for hundreds of theaters throughout the country. His stars, and he, made huge amounts of money.
The second sign of the transformation was the acceleration of the argument for "realism" in theater. Two playwrights were introduced to American theatergoers in the Nineties, who, either encouraged the change or merely revealed that Americans were more sophisticated than the self-appointed arbiters of public morality. Both Henrik Ibsen and George Bernard Shaw had plays produced by American companies. Different styles perhaps, with different focuses and intentions, they were thinking man's (or woman's) plays. While at the time they each had only a cult following, it wouldn't be long before their works were greeted enthusiastically. ------------------------."
Peace // \\ // '\ // \ // \
http://www.talkinbroadway.com/bway101/2.html
""1900-1910, Give My Regards To Broadway!
The first decade of the 20th Century was both boring and transformational in the history of "our" Broadway. The seeds of that transformation go back to 1882, and the construction of The Madison Square Theater at 24th Street. The Mallorys, who had built the theater, had employed a young actor-manager from San Francisco along with two brothers from the lower Eastside to help manage the theater. David Belasco, who had the distinction of appearing on stage with another unknown child, Maude Adams, in San Francisco in 1877, was soon to become a playwright, theater owner and builder. The two brothers from the lower Eastside were, of course, Charles and Daniel Frohman. The first sign of the transformation occurred when producer Rudolf Aronson decided to build a theater of his own. At the time, theater was concentrated between Union Square and 24th Street.
While looking for space in the area, Aronson was approached by a friend who had a vacant lot "way up-town", at Broadway and 39th Street. Procuring financing from some of the wealthiest finance wizards of the day, the Goulds, Roosevelts, Vanderbilts and Morgans, Aronson built a splendid theater on that site. When it opened in 1882, the Casino was considered the finest example of Moorish architecture outside of Spain. It was also considered too far from the center of things to ever make a profit. It did modestly well for the first ten years, offering not only light operas and operettas, but New York's first "roof garden". Aronson was ousted in 1892, when his change of venue to vaudeville flopped. But he had, under his management, brought some of theater's best-known stars up-town. Lillian Russell and Marie Dressler, were among the stars who appeared for Aronson.
Daniel Frohman had departed the Mallorys, and was establishing a repertory company and a reputation at the Lyceum theater on 24th Street. He had taken David Belasco with him as the "house writer". Charles Frohman had begun his separate career as the manager of theater professionals and in 1893, opened his own theater, The Empire, one block up from the Casino. In November of that Year, Abbey's Theater opened next door to the Casino, and the uptown migration of the theater continued. The Casino led the way for a number of entrepreneurs to build in the vicinity of Longacre Square; a long open promenade where Broadway crossed 7th Ave. Following Aronson's lead, the likes of Charles Frohman, Henry Abbey, and Oscar Hammerstein and the Shuberts were among the investors and creators of the new theater district.
The first decade of this century witnessed the creation of numerous theaters in the new Longacre Square area. And, in 1902, when the Hotel Pabst was razed to allow the Times Building to be built on that spot, Longacre Square became Times Square. New theaters in the area include the Victoria, At 42nd St. and Seventh Ave., built in 1899; the Republic, on 42nd St. built in 1900; the Lyric, a few doors down and next door to that, the New Amsterdam, both built in 1903. The following year the Lew Fields theater was built on the same block. There were several others built in the area from 39th Street to 45th Street, and some enterprising individuals were progressing even further uptown to Columbus Circle and Central Park West.
Belasco separated from Daniel Frohman and was producing his own shows, generally the same style of melodrama and light comedy that was popular at the time, and Charles Frohman had become a "star-maker". Working both in the United States and in Europe, he had acquired the contracts of a number of actors and actresses. He had an uncanny ability to link certain roles to certain personalities to maximize their appeal to the public. An example is Maude Adams, who had grown up on stage, but had little or no "presence". Frohman managed to talk James Barrie into writing a script for his novel, The Little Minister, as a vehicle for Miss Adams. Produced first in Drury Lane, then in New York, both the play and Miss Adams were received enthusiastically. By 1901, Miss Adams, in her second Barrie play, Quality Street, was a bankable box-office draw.
In 1905, Frohman again assailed Barrie to write a script from one of his novels; an improbable play concerning alligators and pirates, baby-sitting dogs, little boys trapped in eternal child-hood and a character that was a wandering spot of light. When Maude Adams stepped to the apron and asked if the audience believed in fairies, the theater roared. Miss Adams, the play and Frohman became theater legends. She played the role for eight years and although Peter Pan was not made into a full-fledged Broadway musical until 1954, for Mary Martin , the play was always accompanied by music and Peter always sang a song or two, usually songs that were popular at the time.
Theater during the "Gay Nineties" was still an ensemble production. Stars and their "hits" were still packing their trunks, and since trucks and buses weren't available, they boarded trains, often with the greater stars in their own private cars, to take their shows on the road. Traveling across country, the whistle-stops and one-night- stands were very lucrative for performers. To insure that his stars had lucrative routes and theaters along the way, particularly in the smaller towns, Charles Frohman instigated the creation of the "Syndicate". They picked the stars, the plays, and the theaters for the entire season. Though Erlanger controlled the Syndicate, Frohman's influence was such that he controlled the open time for hundreds of theaters throughout the country. His stars, and he, made huge amounts of money.
The second sign of the transformation was the acceleration of the argument for "realism" in theater. Two playwrights were introduced to American theatergoers in the Nineties, who, either encouraged the change or merely revealed that Americans were more sophisticated than the self-appointed arbiters of public morality. Both Henrik Ibsen and George Bernard Shaw had plays produced by American companies. Different styles perhaps, with different focuses and intentions, they were thinking man's (or woman's) plays. While at the time they each had only a cult following, it wouldn't be long before their works were greeted enthusiastically. ------------------------."
Peace // \\ // '\ // \ // \