Through an examination of plays, actors, reviews, and audience response of the period, this study traces the development of Broadway as a source of 'mature' American drama, and the simultaneous development of Professional-Managerial Class consciousness and habitus.

In the vein of his bestseller, Four Arguments for the Elimination of Television, nationally recognized social critic Jerry Mander researches, discusses, and exposes the momentous and unsolvable environmental and social problem of capitalism. Mander argues that capitalism is no longer a viable system: "What may have worked in 1900 is calamitous in 2010." Capitalism, utterly dependent on never–ending economic growth, is an impossible absurdity on a finite planet with limited resources. Climate change, together with global food, water, and resource shortages, are only the start. Mander draws attention to capitalism's obsessive need to dominate and undermine democracy, as well as to diminish social and economic equity. Designed to operate free of "morality," the system promotes "permanent war" as a key economic strategy. Worst of all, the problems of capitalism are intrinsic to the form. Many organizations are already anticipating the breakdown of the system and are working to define new hierarchies of democratic values that respect the carrying capacities of the planet.

Robert W. Snyder's Crossing Broadway tells how disparate groups overcame their mutual suspicions to rehabilitate housing, build new schools, restore parks, and work with the police to bring safety to streets racked by crime and fear. It shows how a neighborhood once nicknamed "Frankfurt on the Hudson" for its large population of German Jews became "Quisqueya Heights"—the home of the nation's largest Dominican community. The story of Washington Heights illuminates New York City's long passage from the Great Depression and World War II through the urban crisis to the globalization and economic inequality of the twenty-first century. Washington Heights residents played crucial roles in saving their neighborhood, but its future as a home for working-class and middle-class people is by no means assured. The growing gap between rich and poor in contemporary New York puts new pressure on the Heights as more affluent newcomers move into buildings that once sustained generations of wage earners and the owners of small businesses. Crossing Broadway is based on historical research, reporting, and oral histories. Its narrative is powered by the stories of real people whose lives illuminate what was won and lost in northern Manhattan's journey from the past to the present. A tribute to a great American neighborhood, this book shows how residents learned to cross Broadway—over the decades a boundary that has separated black and white, Jews and Irish, Dominican-born and American-born—and make common cause in pursuit of one of the most precious rights: the right to make a home and build a better life in New York City.

The Cleveland Play House has mirrored the achievements and struggles of both the city of Cleveland and the American theatre over the past one hundred years. This book challenges the established history (often put forward by the theatre itself) and long-held assumptions concerning the creation of the institution and its legacy.

Drawing on fascinating archival discoveries from the past two centuries, Brent Salter shows how copyright has been negotiated in the American theatre. Who controls the space between authors and audiences? Does copyright law actually protect playwrights and help them make a living? At the center of these negotiations are mediating businesses with extraordinary power that rapidly evolved from the mid-nineteenth to mid-twentieth centuries: agents, publishers, producers, labor associations, administrators, accountants, lawyers, government bureaucrats, and film studio executives. As these mediators asserted authority over creativity, creators organized to respond, through collective minimum contracts, informal guild expectations, and professional norms, to protect their presumed rights as authors. This institutional, relational, legal, and business history of the entertainment history in America illuminates both the historical context and the present law. An innovative new kind of intellectual property history, the book maps the relations between the different players from the ground up.

"If anyone can save capitalism from the capitalists, it’s Steven Pearlstein. This lucid, brilliant book refuses to abandon capitalism to those who believe morality and justice irrelevant to an economic system." —Ezra Klein, founder and editor-at-large, Vox Pulitzer Prize-winning economics journalist Steven Pearlstein argues that our thirty year experiment in unfettered markets has undermined core values required to make capitalism and democracy work. With a New Introduction by the Author Thirty years ago, “greed is good” and “maximizing shareholder value” became the new mantras woven into the fabric of our business culture, economy, and politics. Although, around the world, free market capitalism has lifted more than a billion people from poverty, in the United States most of the benefits of economic growth have been captured by the richest 10%, along with providing justification for squeezing workers, cheating customers, avoiding taxes, and leaving communities in the lurch. As a result, Americans are losing faith that a free market economy is the best system. In Moral Capitalism, Pulitzer Prize-winning journalist Steven Pearlstein chronicles our descent and challenges the theories being taught in business schools and exercised in boardrooms around the country. We’re missing a key tenet of Adam Smith’s wealth of nations: without trust and social capital, democratic capitalism cannot survive. Further, equality of incomes and opportunity need not come at the expense of economic growth. Pearlstein lays out bold steps we can take as a country: a guaranteed minimum income paired with universal national service, tax incentives for companies to share profits with workers, ending class segregation in public education, and restoring competition to markets. He provides a path forward that will create the shared prosperity that will sustain capitalism over the long term. Previously published as Can American Capitalism Survive?

The American Progressive Era, which spanned from the 1880s to the 1920s, is generally regarded as a dynamic period of political reform and social activism. In Performing the Progressive Era, editors Max Shulman and Chris Westgate bring together top scholars in nineteenth- and twentieth-century theatre studies to examine the burst of diverse performance venues and styles of the time, revealing how they shaped national narratives surrounding immigration and urban life. Contributors analyze performances in urban centers (New York, Chicago, Cleveland) in comedy shows, melodramas, Broadway shows, operas, and others. They pay special attention to performances by and for those outside mainstream society: immigrants, the working-class, and bohemians, to name a few. Showcasing both lesser-known and famous productions, the essayists argue that the explosion of performance helped bring the Progressive Era into being, and defined its legacy in terms of gender, ethnicity, immigration, and even medical ethics.

Shapes of American Ballet introduces several lesser-known European and Russian ballet teachers who worked in New York City before Balanchine. Taking into account the effects of America's economic system and the early twentieth century popular stage, this book looks anew at American ballet as derived from multiple influences and lineages.

"By asking readers to understand how the profession of scenic design was constructed and drawing attention to the work of talented but overlooked women, queer, and Black designers, this book expands the canon of design history and gives insight into how and why some designers were excluded from the professionalization of scenic design"--

This volume explores the crucial role of art dealers in creating a transatlantic art market in the late nineteenth and early twentieth centuries. “There was money in the air, ever so much money,” wrote Henry James in 1907, reflecting on the American appetite for art acquisitions. Indeed, collectors such as Henry Clay Frick and Andrew W. Mellon are credited with bringing noteworthy European art to the United States, with their collections forming the backbone of major American museums today. But what of the dealers, who possessed the expertise in art and recognized the potential of developing a new market model on both sides of the Atlantic? Money in the Air investigates the often-overlooked role of these dealers in creating an international art world. Contributors examine the histories of wellknown international firms like Duveen Brothers, M. Knoedler & Co., and Goupil & Cie and their relationships with American clients, as well as accounts of other remarkable dealers active in the transatlantic art market. Drawing on dealer archives, scholars reveal compelling findings, including previously unknown partnerships and systems of cooperation. This volume offers new perspectives on the development of art collections that formed the core of American art museums, such as the National Gallery of Art, the Metropolitan Museum of Art, and the Frick Collection.