Download America’s First Regional Theatre: The Cleveland Play House by Jeffrey Ullom (auth.) PDF
By Jeffrey Ullom (auth.)
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Extra resources for America’s First Regional Theatre: The Cleveland Play House and Its Search for a Home
39 An amateur artist in her own right, McBride offered to hang some of her etchings in the lobby of the theatre, allowing her many friends in the community to view her work. When she inquired to O’Neil about the possibility of a display, he responded with a letter on December 3, 1918, stating that the Art Committee would be meeting the following day and that he would inform her of their decision. 40 What soon followed marked the beginning of O’Neil’s decline: for some unexplained reason, the director took down the drawings, upsetting McBride and angering many board members.
Seven states voted on woman suffrage; only two, the sparsely populated and politically unimportant states of Montana and Nevada, were in favor. 55 She frequently forayed into the man’s world of politics and was elevated to the level of minor celebrity when the women of East Cleveland finally attained suffrage in 1914. ”56 Despite Minerva Brooks’s best efforts, the Woman’s-suffrage Party remained an unpopular organization, and a losing one at that. 57 To be a suffragist when the Play House was founded was to be a political outsider, and Brooks’s willingness to challenge the conservative political leadership set her apart from many of Cleveland’s elite society, thus furthering the stigma of the Play House as a home for suffragists and other liberal-minded individuals.
O’Neil constructed a small model stage upon which he could experiment with lighting effects. Although only three-feet wide, his presentations greatly amused his wheelchair-bound wife Angelina, prompting O’Neil to produce numerous lightshows while also pursuing his goal of experimenting with lighting technology and aesthetics. 1). 20 Enchanted by the new approaches to design on display in his family’s house and uninspired by the conventional productions offered at the Euclid Avenue Opera House, O’Neil realized the need to explore new ideas and theories in theatrical production.