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dc.contributor.authorMielke, Laura L.
dc.date.accessioned2024-07-08T17:19:01Z
dc.date.available2024-07-08T17:19:01Z
dc.date.issued2021-12-31
dc.identifier.citationMielke, L. (2021). Patriot, Satirist, Bagman: Picturing John Brougham's Columbus Burlesque. New England Theatre Journal, 32, 23-51. https://www.proquest.com/scholarly-journals/patriot-satirist-bagman-picturing-john-broughams/docview/2808369910/se-2en_US
dc.identifier.urihttps://hdl.handle.net/1808/35439
dc.description.abstractIn another of his burlesques, Po-Ca-Hon-Tas; or, The Gentle Savage (1855), which engages the romantic myths of the seventeenth-century Jamestown colony, Brougham performed as John Smith, who is appropriately described as (among other things) a "Statesman, Pioneer, and Bagman," accompanied by "a crew of Fillibusters [sic]," or soldiers of fortune seeking to establish political power in a sovereign nation.10 Certainly, Brougham's Columbus fits the same description, and Brougham prompts laughter through the idea that the revered explorer was also a conman, racketeer, and filibuster who bears little or no resemblance to figure enshrined in American myth. Amy E. Hughes encourages scholars of nineteenth-century theater to look not only to dramatic texts but also to records of actual performances, such as "playbills, newspaper advertisements, and cast books," taking up "quirky remnants in tandem with other sources" to "gain a more nuanced understanding of the content and craft of theatermaking during the 1800s. With the recognition that even more work needs to be done on Brougham's use of music (especially his parody of popular tunes and deployment of patriotic sing-alongs), I bring new focus here on scraps of the visual culture informing the text and the staging of Columbus, hoping to bring us one step closer to the richness Brougham's art and at the same time trouble any conclusions regarding the politics of his art. By the time his performance career ended in 1879, Brougham had "played at least 477 roles in at least 443 different plays" in theatres across the country, penned no fewer than 160 theatrical scripts, and published at least thirty-five dramas with Samuel French, in addition to multiple collections of short fiction and poetry.14 As Marc Robinson has it, "For every form the American theater puts forward-heroic tragedy, romance, history play, melodrama-Brougham counters with plays less poised, less linear, less respectful of polarities of good and evil.en_US
dc.publisherNew England Theatre Conferenceen_US
dc.rightsCopyright New England Theatre Conference 2021
dc.subjectArmed forcesen_US
dc.subjectTheateren_US
dc.subjectBurlesqueen_US
dc.subjectIdeologyen_US
dc.subjectDramaen_US
dc.subjectPoetryen_US
dc.subjectPoliticsen_US
dc.subjectPatriotismen_US
dc.subjectLaughteren_US
dc.subjectAdvertisementsen_US
dc.subjectFictionen_US
dc.subjectPolitical poweren_US
dc.subject19th centuryen_US
dc.subjectNewspapersen_US
dc.subjectDramatistsen_US
dc.subjectSocial criticism & satireen_US
dc.titlePatriot, Satirist, Bagman: Picturing John Brougham’s Columbus Burlesqueen_US
dc.typeArticleen_US
kusw.kuauthorMielke, Laura L.
kusw.kudepartmentEnglishen_US
dc.identifier.orcidhttps://orcid.org/0000-0001-5042-8978en_US
kusw.oaversionScholarly/refereed, publisher versionen_US
kusw.oapolicyThis item meets KU Open Access policy criteria.en_US
dc.rights.accessrightsopenAccessen_US


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