From Margaret Anglin's birth in 1876 in the Speaker's suite of the Canadian House of Commons, to her death in Toronto in 1958, Margaret Anglin: A Stage Life is a lively biography researched from personal sources and theatre periodicals of the times. Author John Le Vay gives us glimpses of the rich and colourful personal life behind the stage persona. Called ""Canada's greatest actress"" by Herbert Whittaker, Margaret Anglin succeeded in winning critical acclaim for her sensitive portrayals in Shakespearean comedy and Greek tragedy. In more contemporary productions she was praised for her work with actor-managers James O'Neill, E.H. Sothern, Richard Mansfield, and Henry Miller, and playwrights Somerset Maugham, H.A. Jones, and Paul Kester.

Theatrical performance is the most ephemeral of arts. Once a production closes, the living work of art disappears. Fortunately, some productions leave behind enough evidence to reconstruct in words and pictures what a performance was like and to conjecture what the audience saw and heard. Between 1889 and 1995 in America, productions of Sophocles' Electra became the project of some of the most significant directors, actresses, and producers of their day. In reconstructing eleven major productions, this book seeks to accomplish two goals: first, to preserve, albeit in imperfect written form, the productions themselves; and, second, by tracing the history of Electra's production, to highlight some of the most pivotal figures in the development of American theater, including several key women often neglected by theater historians. Along the way, for those who celebrate Greek tragedy in production, this book will allow the reader to sit vicariously in the audience and enjoy eleven Electra productions on the American stage. E. Teresa Choate is an Associate Professor and Assistant Chair at the Department of Theatre in the School of Visual and Performing Arts at Kean University.

By the late nineteenth century, Canadian women had begun forging careers as professional actresses, appearing not just in Canada, but in the United States, Britain, Australia, and New Zealand. They played an integral role in theatrical networks and helped shape transnational middle-class culture. Taking the approach of feminist collective biography, Sweet Canadian Girls Abroad writes the lives of women who, despite their renown during their lifetimes, have been all too easily forgotten. Cecilia Morgan examines these “sweet girls’” childhoods, their experiences of work, touring, and company management, the plays in which they appeared, and the celebrity they enjoyed. In so doing she shows how women helped convey messages about race, empire, and white identity in popular culture. Investigating a period from the 1870s to the 1940s, Morgan demonstrates how actresses evolved within a period of change in theatre, how they coped with new challenges, and how they brought their craft to new media. Paying particular attention to the careers of Margaret Bannerman, Tony Award-winner Beatrice Lillie, Margaret Anglin, Julia Arthur, and Frances Doble, among many others, this book explores how being an actress abroad became work as well as profession for Canadian women. Extensively researched and generously illustrated, Sweet Canadian Girls Abroad argues for the importance of theatre, both to Canadian women’s history and to our understanding of Canada in a transnational world.

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The transnationalism of ordinary lives threatens the stability of national identity and unsettles the framework of national histories and biography. This book takes mobility, not nation, as its frame, and captures a rich array of lives, from the elite to the subaltern, that have crossed national, racial and cartographic boundaries.

This book provides a much-needed comparative approach to the history of cities by investigating the dissemination of cultural forms between cities of the Atlantic world. The contributors attend to the various forms and norms of cultural representation in Atlantic history, examining a wealth of diverse topics such as the Portuguese Atlantic; the Spanish Empire; Guy Fawkes and the conspiratorial rhetoric of slaves; Albert-Charles Wulffleff and the Parc-Musée of Dakar; and the writings of Jane Austen, Alexis de Tocqueville, Benjamin Franklin, and others. By interpreting Atlantic urban history through sustained attention to customs and representational forms, an international group of nine contributors demonstrate the power of culture in the making of Atlantic urban experience, even as they acknowledge the harsh realities of economic history.