Representative Plays by American Dramatists: 1856-1911:: Introduction and Bibliography

In Short

This volume is an authoritative historical collection of ten representative American stage plays published between 1856 and 1911, edited by Montrose Jonas Moses. Featuring previously unpublished manuscripts, revised authorial texts, and rare comparative dramatizations, the book traces the evolution of native drama from mid-century romantic legends to turn-of-the-century urban realism. Moses pairs these dramatic texts with comprehensive bibliographies, tracking how American playwriting developed into a distinct social and artistic force. It endures as a vital archival document that captures the emergence of a mature national theatre.

The Story

The volume charts a clear progressive arc in American theatrical history, moving from early romantic folk traditions toward hard-edged modern realism. The journey begins in the mid-nineteenth century with rare adaptations of "Rip Van Winkle," presenting a comparative study of the John Kerr and Charles Burke dramatizations that predate the better-known Joseph Jefferson version. The text then transitions into George Henry Boker’s verse tragedy "Francesca da Rimini," demonstrating the period's commitment to poetic drama, alongside Oliver Bell Bunce's "Love in '76," a rare Revolutionary War parlour comedy characterized by its light, bloodless charm.

As the narrative of American drama moves into the post-Civil War era and the 1880s, the selection captures a transitional period in stagecraft. Steele Mackaye's "Paul Kauvar; or, Anarchy" illustrates the heightened dramatic fervour of the decade, while Bronson Howard’s "Shenandoah" captures the national impulse to dramatize wartime history on a grand scale. Augustus Thomas’s "In Mizzoura" shifts the focus outward, offering a racy, native portrait of regional American life.

Entering the late nineteenth and early twentieth centuries, the collection highlights a sharp pivot toward modern observational and realistic styles. Clyde Fitch’s "The Moth and the Flame"—published here for the first time—displays a sprightly, keen observation of contemporary social manners. Langdon Mitchell’s "The New York Idea" offers a sophisticated, authorially revised satire of urban marriage and divorce, establishing a new standard for high comedy.

The collection culminates in the stark realism and psychological experimentation of the early 1910s. Eugene Walter's "The Easiest Way" introduces a cruelly realistic treatment of modern urban conditions, while David Belasco’s "The Return of Peter Grimm" explores spiritualism and theatrical atmosphere. Surrounding these ten texts, Moses provides extensive general and individual bibliographies, along with detailed author chronologies. By documenting the exact dates, venues, and creative context of each work, the volume demonstrates how native writers gradually freed themselves from European models to establish an independent dramatic canon.

How It Unfolds

Archiving the foundational folk legends The volume opens by presenting early dramatizations of "Rip Van Winkle," contrasting the versions by John Kerr and Charles Burke to show how native mythology first took root on the American stage.

Establishing romantic and parlour traditions The text moves into the mid-nineteenth century with George Henry Boker’s verse tragedy "Francesca da Rimini" and Oliver Bell Bunce’s light Revolutionary War comedy "Love in '76."

Capturing the transitional era Steele Mackaye's "Paul Kauvar" and Bronson Howard's "Shenandoah" represent the theatrical fervour of the late nineteenth century, blending sensational melodrama with historic wartime themes.

Exploring native regionalism and social satire Augustus Thomas brings local realism in "In Mizzoura," followed by Clyde Fitch's observational city comedy "The Moth and the Flame" and Langdon Mitchell's sharp matrimonial satire "The New York Idea."

Documenting modern realism and stagecraft The collection closes with Eugene Walter’s unsparing city drama "The Easiest Way" and David Belasco’s atmospheric "The Return of Peter Grimm," accompanied by exhaustive scholarly bibliographies that trace each author's career.

The People

• Montrose Jonas Moses: The dedicated editor and curator who assembles these rare manuscripts, shaping the collection to preserve texts excluded from standard anthologies while compiling detailed bibliographies to advance the study of American drama.
• Charles Burke & John Kerr: Early dramatists whose early, historical versions of "Rip Van Winkle" establish the foundational folk traditions of the native repertory.
• George Henry Boker: A mid-century playwright whose romantic tragedy "Francesca da Rimini" highlights the period's loftiest poetic ambitions.
• Oliver Bell Bunce: Author of "Love in '76," representing the rare, bloodless parlour comedy of the mid-nineteenth century.
• Steele Mackaye: An innovative dramatist whose play "Paul Kauvar" anchors the transitional, high-fervour theatrical style of the 1880s.
• Bronson Howard: A pioneering playwright whose work "Shenandoah" captures large-scale national conflict on the stage.
• Augustus Thomas: A dramatist whose work "In Mizzoura" infuses the stage with authentic regional flavor.
• Clyde Fitch: A master of social observation whose unpublished play "The Moth and the Flame" showcases modern urban manners.
• Langdon Mitchell: Author of "The New York Idea," who personally revised his manuscript to capture the peak of modern comedy.
• Eugene Walter: A realist writer whose piece "The Easiest Way" introduces a stark, unforgiving portrait of city life.
• David Belasco: The legendary manager and playwright whose "The Return of Peter Grimm" demonstrates the height of early twentieth-century stagecraft and atmospheric design.

In Its Own Voice

"The present volume of 'Representative Plays by American Dramatists' includes many hitherto unpublished manuscripts."

Moses opens his work by explaining his archival purpose: to bring rare, uncirculated stage texts directly to scholars of American theatre.

"Mr. Eugene Walter's 'The Easiest Way,' at the last moment, was released from publication in the Drama League Series of Plays; it still stands as America's most cruelly realistic treatment of certain city conditions."

The editor emphasizes the bold modernity of Walter's drama, pointing to its uncompromising depiction of contemporary urban life.

"There are still unblazed trails for the research worker, but these trails are becoming fewer and fewer, as interest in the study of American Drama as a social and artistic force progresses."

Moses reflects on the growing academic recognition of native playwriting as a dynamic reflection of national culture.

What It's Really About

Beneath its role as a theatrical anthology, the book explores the gradual emergence of a distinct American cultural identity through stage performance. Moses traces how native drama evolved from imitating European romantic forms to confronting the gritty realities of modern American society. The collection poses fundamental questions about what makes a play distinctly American—whether it is local dialect, historical memory, or sharp social critique. By showcasing works that survived legal disputes, copyright hurdles, and theatrical ephemeralness, the volume argues that stage plays are not mere commercial entertainment, but valuable social documents worthy of rigorous historical preservation and scholarly study.

Why Read It Today

This collection will deeply resonate with theatre historians, scholars of American literature, and readers curious about the origins of modern stagecraft. It offers a fascinating, hands-on look at how popular entertainment transformed into serious national literature across a critical fifty-year span. Reading through the volume feels like stepping into an old ghost-light theatre, where forgotten voices, forgotten scandals, and classic stage traditions suddenly spring back to life.

Readers should be prepared for scholarly academic framing: the text consists primarily of introductory notes, dense theatrical bibliographies, and detailed play chronologies rather than a continuous narrative story. Some of the referenced historical plays reflect the melodramatic conventions and sentimentality of their respective eras. Yet, for those willing to navigate these historical layers, the book provides an authentic, unvarnished window into the working American theatre. It leaves you with a profound appreciation for the writers, managers, and archivists who built the foundation of modern drama.