Although Col. George A. Custer's defeat at Little Big Horn on 25 June 1876 was anything but theatrical event, it certainly became one very soon after. By middle of August, theatergoers in New York City were flocking to Wood's Theatre for Harry Seymour's blood-and-thunder re-enactment Sitting Bull; or, Custer's Last Charge. (1) Meanwhile, out on Plains scout and part-time actor and playwright named William F. Buffalo Bill accidentally found himself on 17 July face to face with Cheyenne warrior named Yellow Hair. The two exchanged single, simultaneous blast of gunfire, which only survived. Taking his opponent's scalp in hand, almost immediately began to weave brief skirmish into larger and more complex battle of deliberately taken revenge for Custer, with as hero. Moreover, according to most reports, fought while decked out in a stage costume of black velvet slashed with scarlet and trimmed with silver buttons (2) Although he was at this particular moment in employ of U.S. Fifth Cavalry, had by this time become something of celebrity on East Coast for his highly stylized (some might say cliche-riddled) touring stage reenactments of his own exploits. Thus, his wearing of stage costume both arises from his ongoing interest in performing frontier persona and inflects event with theatrical note. And in autumn of 1876, further embellished importance of skirmish, and hence his reputation, by starring in New York in play he had commissioned about his killing of Yellow Hair called The Red Right Hand, or The First Scalp for Custer. The printed programs for this show reportedly included poetry and news releases about [the Little Big Horn battle], by which Cody and his managers traded on audience's belief that were transmitting news from front, representing events actually unfolding on plains even as spectators sat watching them in Boston, New York, or Omaha. (3) The transmutation of current events into theater represents but one ingredient in United States' long history of imbuing popular modes of entertainment with matters of cultural or national consideration. As further example of this phenomenon, consider Royall Tyler's The Contrast (1787), where character Jonathan goes out in search of circus-like place he had heard of where a hocus pocus man ... could eat case knife only to find himself in proper playhouse watching Sheridan's School for Scandal The joke is that when they lifted up great green cloth Jonathan naively believed he and rest of audience were merely looking right into next neighbor's house (4) The Contrast is generally credited as the first comedy written by an American to be produced professionally and character of Jonathan as first instance of now-familiar Yankee rube character type. (5) Jonathan's misapprehension of nature of space in which he finds himself one evening once again points to relationship between popular theatrical entertainment and crafting of very frameworks within which knowledge of world could be organized or produced. Which is to say, Jonathan's search for performer of tricks leads him and, by extension, those who have come to theater to watch an actor perform this role to lesson in theatrical verisimilitude. In 1993 Gary A. Richardson observed that Whether out of religious, aesthetic, or ideological bias, nation's cultural arbiters have tradition ally been, at best, ambivalent about America's drama and its functions. This is especially true of drama before O'Neill, about which prevailing opinion seems to be that less said better. (6) Fortunately, this assessment is far less true than it may have been decade ago, for much admirable scholarship has in recent years given serious consideration to American theater prior to advent of literary Modernism. (7) Nevertheless, compelling and important questions still remain, among them questions about extent to which developments in American popular entertainment prior to 1900 contributed contemporaneously to culture's questions about such matters as high- and lowbrow art, popularity versus artistic quality, and representation of political and social events as entertainment. …
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