Opposites & Oddities by Keynotes Education Crossgate Comwall

By Keynotes Education Crossgate Comwall

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Reid’s The Peddler extends this theme across generations in a Jewish family, which struggles with acculturation and modernity. Jules Eckert Goodman’s The Man Who Stood Still considers the theme in relation to several ethnic groups in the Bowery. Chapter 5 turns to the red lights districts and the plays that elicited such consternation from Darnton. Here, the tension involves the titillating themes of seduction, prostitution, and white slavery and the sociological themes of impoverishment, disease, and the regeneration of prostitutes and fallen women.

As a genre, theatre could represent the slums with more embellishment and verisimilitude than magazines, newspapers, or novels. On the other hand, theatre safeguarded the welfare of theatregoers in ways that slumming could not always guarantee. However thrilling the representations of the slums in the plays, those thrills were representations in the bourgeois space of the theatre. ” Thus, A Trip to Chinatown advanced a key premise behind slum plays, namely, that slumming in the theatres of New York was superior to slumming in the streets of New York.

Weren’t the audiences of In the Tenderloin allowing Price and by extension Appo profit from his crimes against the middle class? In the Tenderloin, therefore, throws into relief the contradictions involved in staging the slum and slumming the stage. Such contradictions evidently mattered little since no fewer than four slum plays were produced the following year—an abundance that prefigured the outpouring of the 1908–1909 season. The first of these was Will R. Wilson’s The Police Inspector, which was produced at the People’s Theatre in April of 1895.

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