Circle stock theater was based on the repertory companies that began to tour America after the Civil War; unlike their repertory brethren, circle stock troupes toured a regular circuit, usually consisting of six small towns situated roughly in a circle around a base community where the performers lived. Through interviews, written reminiscences of veteran circle stock performers, and extensive research, the history of this unique slice of Americana is here presented for the first time.

The boat on which Edna Ferber based her famous novel brought excitement and entertainment to isolated small towns up and down the East Coast in early twentieth-century America. The builder of the boat, James E. Adams, was a farmer from Michigan who taught himself to be a circus aerialist, started and prospered with his own carnival company, and, when retirement proved boring, decided to build a showboat. The book traces the history of the James Adams from its inception until its demise twenty-seven years later, a tale that includes fires, sinkings, a shooting, arrests, and several deaths.

Volume Four of the distinguished American Theatre: A Chronicle of Comedy and Drama series offers a thorough, candid, and fascinating look at the theater in New York during the last decades of the twentieth century.

A comprehensive directory of more than 600 entries, this detailed ready reference features professional, semi-professional, and academic stage organizations and theatres that have been in the forefront in pioneering most of the advances that African Americans have made in the theatre. It includes groups from the early 19th century to the dawn of the revolutionary Black theatre movement of the 1960s. It is an effort to bring together into one volume information that has hitherto been scattered throughout a number of different sources. The volume begins with an illuminating foreword by Errol Hill, a noted critic, playwright, scholar and Willard Professor of Drama Emeritus, Dartmouth College. A comprehensive directory of more than 600 entries, this detailed ready reference features professional, semi-professional, and academic stage organizations and theatres that have been in the forefront in pioneering most of the advances that African Americans have made in the theatre. It includes groups from the early 19th century to the dawn of the revolutionary Black theatre movement of the 1960s. It is an effort to bring together into one volume information that has hitherto been scattered throughout a number of different sources. The volume begins with an illuminating foreword by Errol Hill, a noted critic, playwright, scholar and Willard Professor of Drama Emeritus, Dartmouth College. Included in the volume are the earliest organizations that existed before the Civil War, Black minstrel troupes, pioneer musical show companies, selected vaudeville and road show troupes, professional theatrical associations, booking agencies, stock companies, significant amateur and little theatre groups, Black units of the WPA Federal Theatre, and semi-professional groups in Harlem after the Federal Theatre. The A-Z entries are supplemented with a classified appendix that also includes additional organizations not listed in the main directory, a bibliography, and three indexes for shows, showpeople, and general subjects. Cross referencing makes related information easy to find.