Angels in the American Theater: Patrons, Patronage, and by Robert A Schanke, Theresa M COLLINS, Melanie Blood, Alexis

By Robert A Schanke, Theresa M COLLINS, Melanie Blood, Alexis GREENE, Jennifer SCHLUETER, Dan Friedman, David A. Crespy, John R Poole, Barry B Witham, Sheila Anderson, Bruce Kirle Ph.D., Stephen D Burwind, Jeffrey Eric Jenkins, Ullom, Kathy L Privatt, Dr. An

Angels within the American Theater: consumers, Patronage, and Philanthropy examines the numerous roles that theater buyers have performed in shaping and constructing theater within the usa. simply because field workplace source of revenue hardly covers the price of creation, different assets are very important. Angels—financial traders and backers—have an enormous effect on what occurs on degree, frequently picking with the ability and impression in their funds what's conceived, produced, and played. yet inspite of their impact, little or no has been written approximately those philanthropists.

 

Composed of 16 essays and fifteen illustrations, Angels within the American Theater explores not just how donors grew to become angels but in addition their backgrounds, motivations, guidelines, boundaries, aid, and successes and screw ups. topics variety from millionaires Otto Kahn and the Lewisohn sisters to beginning giants Ford, Rockefeller, Disney, and transparent Channel. the 1st booklet to target theater philanthropy, Angels within the American Theater employs either a ancient and a chronological structure and makes a speciality of person buyers, foundations, and corporations.

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John F. Cone, Oscar Hammerstein’s Manhattan Opera Company (Norman: University of Oklahoma Press, 1966), 276; “Oscar Hammerstein Sails; Otto Kahn, on Same Ship, Says No Money Is Made on Opera,” New York Times, January 11, 1912. 16. “New Theatre Incorporated,” New York Times, May 18, 1906. 17. “Plans Filed for the New Theatre,” New York Times, August 17, 1907; “Palace of Drama Shows Its Splendor,” New York Times, November 7, 1909. 18. “New Theatre Has Bad Opera Acoustics,” New York Times, November 4, 1909; Adolph Klauber, “The New Theatre and Its Beginning—The Question of Diction and Acoustics,” New York Times, November 14, 1909; and “Plan Buildings Now for Good Acoustics,” New York Times, February 14, 1915.

33. Quoted in Lowry, Arts and Public Policy, 133. 34. Olin Robison, Robert Freeman, and Charles A. , The Arts in the World Economy: Public Policy and Private Philanthropy for a Global Cultural Community (Hanover, NH: University Press of New England, 1994), xiv. 35. , Arts in the World Economy, 68–69. 15 introduction 36. shtml (accessed February 20, 2005). 37. Holly Hall, Leah Kerkman, and Cassie J. com (accessed October 28, 2005). 38. Quoted in David B. Pankratz and Valerie B. , The Future of the Arts: Public Policy and Arts Research (New York: Praeger, 1990), 252–53.

Kahn to George Bakhmetieff, October 2, 1916, Kahn Papers. 35. Kahn to Henry Russell, January 16, 1918, Kahn Papers. 36. “French Theatre Patrons,” New York Times, July 21, 1971. 37. Maurice Kurtz, Jacques Copeau: Biography of a Theater (Carbondale: Southern Illinois University Press, 1999), 50–52, 59; and Elizabeth S. Allen, “Eurhythmics for the Theatre,” Theatre Arts Magazine 3 (January 1919): 46. See 35 theresa m. collins also Lee Shubert to J. J. Shubert, July 14, 1918, and J. J. Shubert to Otto Kahn, July 29, 1918, Shubert Archives, New York.

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