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Harper's Encyclopedia of United States History (ed. Benson Lossing) 2 2 Browse Search
Cambridge History of American Literature: volume 3 (ed. Trent, William Peterfield, 1862-1939., Erskine, John, 1879-1951., Sherman, Stuart Pratt, 1881-1926., Van Doren, Carl, 1885-1950.) 1 1 Browse Search
Southern Historical Society Papers, Volume 25. (ed. Reverend J. William Jones) 1 1 Browse Search
Southern Historical Society Papers, Volume 28. (ed. Reverend J. William Jones) 1 1 Browse Search
Historic leaves, volume 3, April, 1904 - January, 1905 1 1 Browse Search
Medford Historical Society Papers, Volume 12. 1 1 Browse Search
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Browsing named entities in Cambridge History of American Literature: volume 3 (ed. Trent, William Peterfield, 1862-1939., Erskine, John, 1879-1951., Sherman, Stuart Pratt, 1881-1926., Van Doren, Carl, 1885-1950.). You can also browse the collection for April, 1897 AD or search for April, 1897 AD in all documents.

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Cambridge History of American Literature: volume 3 (ed. Trent, William Peterfield, 1862-1939., Erskine, John, 1879-1951., Sherman, Stuart Pratt, 1881-1926., Van Doren, Carl, 1885-1950.), Book III (continued) (search)
Lyceum and the Empire in these days gave agreeable artistic productions. It is true that Daniel Frohman produced pieces by American playwrights like Belasco, De Mille, Marguerite Merrington (Captain Letterblair, 16 August, 1892), Fitch (An American Duchess, 20 November, 1893; The Moth and the flame, 1 April, 1898; The girl and the Judge, 4 December, 1900), Mrs. Frances Hodgson Burnett (The First Gentleman of Europe, 25 January, 1897), Madeleine Lucette Ryley (The Mysterious Mr. Bugle, 19 April, 1897; Richard savage, 4 February, 1901), Grace Livingston Furness and Abby Sage Richardson (Colonial Girl, 31 October, 1898; Americans at home, 13 March, 1899). It is also true that Charles Frohman, opening his Empire Theatre with the Belasco-Fyles military drama, The girl I left behind Me (25 January, 1893), figured largely in the development of Gillette, Fitch, and Thomas. Nevertheless, it was not by their faith in the American playwright that the powerful position of the theatrical manager