An "American dancer and adventuress," the woman later known as Lola Montez has several different birthdates, but scholar Bruce Seymour argues that she was likely born in 1820 in Ireland as Marie Do
Personne begins by claiming that there is currently nothing for dramatic critics to do in light of the continued runs of Our American Cousin and The Veteran. Personne mentions the debut of Menken at the National Theatre and reprints the Tribune critic's review of her performance, as Personne has not yet seen her onstage and fears her powers of feminine retribution. Personne also mentions a concert at the City Assembly Rooms, the opening of the French Theatre to the public, and the theatrical news from other major cities. Mention of Sothern's upcoming benefit at Laura Keene's prompts Personne to discuss the "excessive avarice" of Keene's management in relation to Our American Cousin. Personne also reprints a letter to the Cincinnati Commerical about Piccolimini.
Personne reprints a letter about the Dramatic Fund Benefit for the attention of Brougham (3).
Personne reports that there will be a benefit for Sothern that includes Our American Cousin at her theater (3).
Personne mentions that Menken has debuted at the National Theatre. Personne reprints the Tribune review of her performance (3).
Personne reports that there will be a benefit for Sothern at Laura Keene's Theatre. It will include Our American Cousin (3).
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An "American dancer and adventuress," the woman later known as Lola Montez has several different birthdates, but scholar Bruce Seymour argues that she was likely born in 1820 in Ireland as Marie Do
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