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Additional resources for Angels in the American Theater: Patrons, Patronage, and Philanthropy
17. Alvin H. Reiss, Culture and Company: A Critical Study of an Improbable Alliance (New York: Twayne, 1972), 17. 18. , 69. 19. McCarthy, “Cultural Patronage,” 16. 20. National Endowment for the Arts, “United States Funds the Arts,” 13. 21. Quoted in Reiss, Culture and Company, 82 22. bcainc. html (accessed October 10, 2005). 23. Quoted in W. M. , The Arts and Public Policy in the United States (Englewood Cliffs, NJ: Prentice Hall, 1984), 133. 24. Quoted in McCarthy, “Cultural Patronage,” 15. 25.
Morgan, Arthur, and the rest of the paid company, on the other hand, were concerned with their own livelihoods and the potential loss of audience in the year’s absence. The Lewisohns prevailed, but they paid the staff’s salaries and kept the school open during the dark season. Occasional disagreements aside, all four women worked together as an administrative collective, in what Kenneth Macgowan called in 1929 “our one thoroughly feminist theatre”11—from the first full-length production of a play at Henry Street in 1912 until 1927, encompassing the full span of the American Little Theater Movement.
Percy Hammond, “Affairs of the Theater in News and Comment,” Chicago Daily Tribune, December 24, 1911. 26. Alexander Woollcott, “Second Thoughts on First Nights,” New York Times, April 25, 1920. 27. Sheldon Cheney, “At Last America Subsidizes the Theatre,” New York Times, March 20, 1927. See also Emilie Hapgood to Kahn, c. February 1914, and Lee W. Haggin to Otto Kahn, April 26, 1916, Kahn Papers. Additionally, see Joyce Meeks Anderson, “Otto H. D. , Kent State University, 1983), 63, 72, 84. 28.