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 type inside American company capitalism and the evolution of Broadway. Michael Schwartz indicates 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 existence the consultant performs, playwrights, actors, critics, and audiences from one of many liveliest classes of Broadway.
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Extra resources for Broadway and Corporate Capitalism: The Rise of the Professional-Managerial Class, 1900-1920 (Palgrave Studies in Theatre and Performance History)
But it was unionism in the service of a higher ideal: professionalism” (233). As the actors embraced the ideals of the PMC, the “PMC-ing” of Broadway took a substantial stride forward. Nevertheless, in the process of unionizing, the actors left behind an old friend. Broadway’s ultimate triple-threat performer, composer, and playwright George M. Cohan never stopped believing in square deals and fair play, but he took the actors’ unionization, particularly the strike, as a personal affront. As sympathetic biographer John McCabe writes: “Cohan’s word .
If critics of the 1890s and the early turn of the century began to see themselves as responsible for educating the theatergoer, Nathan distinguished himself by virtue of his modernity, by leading theatergoers by the head and pulling fellow critics by the tail, and by never looking back on any form of “good old days” throughout his long career. The shift in theatrical criticism is significant in terms of the Broadway PMC emergence. To extend Nathan’s analogy, if the “genteel” critics concentrated on the actors, or “generals,” then Nathan concentrated on those “officers” who conceived the scenarios and gave the generals the information needed to maneuver and lead heroically—in this case, the playwrights.
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.
Broadway and Corporate Capitalism: The Rise of the Professional-Managerial Class, 1900-1920 (Palgrave Studies in Theatre and Performance History) by M. Schwartz