By M. Schwartz
Broadway and company Capitalism examines overlapping and, in lots of methods, symbiotic phenomena of early twentieth century America—the emergence of the Professional-Managerial category inside American company capitalism and the evolution of Broadway. Michael Schwartz exhibits how the category activities moved—literally and figuratively—to the rhythm of noisy, frenetic farces, hugely charged enterprise and activities melodramas, and exuberant musicals. This booklet brings to lifestyles the consultant performs, playwrights, actors, critics, and audiences from one of many liveliest classes of Broadway.
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Extra info for Broadway and Corporate Capitalism: The Rise of the Professional-Managerial Class, 1900-1920 (Palgrave Studies in Theatre and Performance History)
S. Steel (231). The “skyscraper,” once a nautical term describing the highest sails of the ships sailing the Atlantic, now referred to structures that followed the only direction corporate buildings could go—as Lincoln Steffens wrote, “Confined on all sides, the only way out was up” (232, author’s emphasis). And in terms of getting around, carriages and ferries would no longer suffice; the most efficient way in and out would soon be under. By 1900, citizens could see teams of surveyors laying out the routes of what would become the Interborough Rapid Transit.
Thus, each “outsider” group, occupying what Roediger calls an “in-between” position between races, had to consciously embrace the concept of “Whiteness” in order to be considered white (20–21). In many cases, this embrace entailed approving The Growth of Broadway, Emergence of PMC 31 of and participating in discrimination against blacks. As Noel Ignatiev writes in How the Irish Became White, “They [the Irish] came to a society in which color was important in determining social position. It was not a pattern they were familiar with and they bore no responsibility for it; nevertheless, they adapted to it in short order” (Ignatiev 2).
The impasse grew in size and notoriety, as the Times filed an injunction against the Shuberts and subsequently threw out all Shubert advertising. Although the courts upheld the Shuberts’ right to ban whoever they chose, the producers found the victory a costly one; there would be neither Times reviews nor Times advertising, two important components in selling their plays to the public. Consequently, the Shuberts gave up in 1916, agreeing to allow Woollcott or any other Times critic into their theatres.
Broadway and Corporate Capitalism: The Rise of the Professional-Managerial Class, 1900-1920 (Palgrave Studies in Theatre and Performance History) by M. Schwartz