Winner of the 2006 Barnard Hewitt Award for Excellence in Theatre History
Between 1904 and the good melancholy, Circuit Chautauquas toured the agricultural usa, reflecting and reinforcing its voters’ rules, attitudes, and politics each summer season via track (the Jubilee Singers, an African American team, weren't continually welcome in a time while thousands of usa citizens belonged to the KKK), lectures (“Civic Revivalist” Charles Zueblin conversing on “Militancy and Morals”), elocutionary readers (Lucille Adams studying from Little Lord Fauntleroy), dramas (the Ben Greet avid gamers’ cleaned-up model of She Stoops to Conquer), orations (William Jennings Bryan conversing concerning the risks of greed), and particular courses for kids (parades and ridicule weddings).
 Theatre historians have principally overlooked Circuit Chautauquas on the grounds that they didn't meet the traditional stipulations of theatrical functionality: they weren't city; they produced no cutting edge functionality options, level fabric, layout results, or dramatic literature. during this superbly written and illustrated booklet, Charlotte Canning establishes an analytical framework to bare the Circuit Chautauquas as distinctive performances that either created and unified small-town America.
 One of the final strongholds of the yankee traditions of rhetoric and oratory, the Circuits created complicated intersections of neighborhood, American democracy, and function. Canning doesn't have a good time the Circuit Chautauquas wholeheartedly, nor does she describe them with an identical cynicism provided through Sinclair Lewis. She recognizes their objectives of group help, educated public considering, and well known schooling but in addition makes a speciality of the reactionary and regressive beliefs they usually embraced. within the actual interdisciplinary spirit of Circuit Chautauquas, she unearths the Circuit structures as areas the place american citizens played what it intended to be American.

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