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Additional info for Angels in the American Theater: Patrons, Patronage, and Philanthropy
Vanderbilt, J. P. Morgan, and Harry Payne Whitney, the centerpiece of the New Theatre was a palatial Beaux-Arts house at Central Park West between Sixty-second and Sixty-third streets. ”20 Size and sound were only half of the problems. 22 Winthrop Ames, the New Theatre’s 25 theresa m. 23 Rival commercial managers were understandably apprehensive about competition from the idle rich who, as A. L. Erlanger phrased it, had “grown tired of ping pong and the horse show” and were taking up grand opera and theater as their latest diversion.
Org/magazines/2000–01/lamarche. html (accessed February 20, 2005). 4 6. Ben Cameron, “Systems and Survival,” American Theatre 22 (April 2005): 4. 47. org (accessed October 19, 2005). 48. cfm (accessed November 7, 2006). 49. ” 50. Leslie Milk, “Angels in the Wings,” Washingtonian 40 (September 2005): 76. 51. Odendahl, Charity Begins, 37. 52. Reiss, Culture and Company, 27. 53. ” 54. Milk, “Angels,” 76–77. 16 introduction 55. Daniel Sullivan (symposium, National Theatre Conference, New York City, December 4, 2004).
4. Kenneth Macgowan to Kahn, September 7, 1924, and June 25, 1923, Kahn Papers. 5. Jack Poggi, Theater in America: The Impact of Economic Forces, 1870–1967 (Ithaca: Cornell University Press, 1968), 140. 6. Theresa M. Collins, Otto Kahn: Art, Money, and Modern Time (Chapel Hill: University of North Carolina, 2002). 7. Burkhard Laugwitz, “Robert Kahn and Brahms,” The Musical Quarterly 74 (1990): 595–611. 8. On the significance of Bildung, see Marion A. , 9, no. 1 (Fall 2002): 1–33. 9. Kahn to Prof.