By Robert A Schanke, Theresa M COLLINS, Melanie Blood, Alexis GREENE, Jennifer SCHLUETER, Dan Friedman, David A. Crespy, John R Poole, Barry B Witham, Sheila Anderson, Bruce Kirle Ph.D., Stephen D Burwind, Jeffrey Eric Jenkins, Ullom, Kathy L Privatt, Dr. An

Angels within the American Theater: consumers, Patronage, and Philanthropy examines the numerous roles that theater buyers have performed in shaping and constructing theater within the usa. simply because field workplace source of revenue hardly covers the price of construction, different resources are very important. Angels—financial traders and backers—have a massive impression on what occurs on degree, usually selecting with the facility and impact in their funds what's conceived, produced, and played. yet regardless of their impression, little or no has been written approximately those philanthropists.


Composed of 16 essays and fifteen illustrations, Angels within the American Theater explores not just how donors turned angels but additionally their backgrounds, motivations, guidelines, boundaries, aid, and successes and screw ups. topics variety from millionaires Otto Kahn and the Lewisohn sisters to beginning giants Ford, Rockefeller, Disney, and transparent Channel. the 1st booklet to target theater philanthropy, Angels within the American Theater employs either a ancient and a chronological layout and makes a speciality of person consumers, foundations, and corporations.

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Whereas many of the Lewisohns’ female collaborators, like Agnes Morgan and Helen Arthur, are clear examples of the New Woman, the 41 melanie blood Lewisohns’ class status and the prominence of their family led them to different work and life choices. In her memoir, Alice tantalizes with such confessions as “our personal values did not conform with the traditional world of family or of producing a family,”9 but she fails to provide details, personal or contextual. Excellent examples of the New Woman, Helen Arthur and Agnes Morgan were both from middle-class families, college educated in fields traditionally dominated by men, respectively of law and theater, and found it difficult to break into those professions.

51. Sheldon Cheney, “At Last America Subsidizes the Theatre,” New York Times, March 20, 1927. 52. Collins, Otto Kahn, 3, 167–73, 177; “Bad Debts Written off the Books, 1926–1931,” Kahn Papers; and Wells Root, “What’s Doing in New York The36 modern cosmopolitan aters,” Los Angeles Times, May 23, 1926. In 1926, Kahn also wrote off a $4,500 advance to singer Grace Moore, with whom he was involved romantically. 53. Sheldon Cheney, “At Last America Subsidizes the Theatre,” New York Times, March 20, 1927.

35. , Arts in the World Economy, 68–69. 15 introduction 36. shtml (accessed February 20, 2005). 37. Holly Hall, Leah Kerkman, and Cassie J. com (accessed October 28, 2005). 38. Quoted in David B. Pankratz and Valerie B. , The Future of the Arts: Public Policy and Arts Research (New York: Praeger, 1990), 252–53. 39. Ben Cameron, “Post-Election Realities—Issues in Theatre Organizations: Funding, Community, and Strategy for Renewal” (speech, National Theatre Conference, New York City, December 3, 2004).

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Angels in the American Theater: Patrons, Patronage, and by Robert A Schanke, Theresa M COLLINS, Melanie Blood, Alexis
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