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This book was originally published prior to 1923, and represents a reproduction of an important historical work, maintaining the same format as the original work. While some publishers have opted to apply OCR (optical character recognition) technology to the process, we believe this leads to sub-optimal results (frequent typographical errors, strange characters and confusing formatting) and does not adequately preserve the historical character of the original artifact. We believe this work is culturally important in its original archival form. While we strive to adequately clean and digitally enhance the original work, there are occasionally instances where imperfections such as blurred or missing pages, poor pictures or errant marks may have been introduced due to either the quality of the original work or the scanning process itself. Despite these occasional imperfections, we have brought it back into print as part of our ongoing global book preservation commitment, providing customers with access to the best possible historical reprints. We appreciate your understanding of these occasional imperfections, and sincerely hope you enjoy seeing the book in a format as close as possible to that intended by the original publisher.
- Published on: 2012-08-31
- Released on: 2012-08-31
- Original language: English
- Dimensions: 10.00" h x .71" w x 7.50" l,
- Binding: Paperback
- 314 pages
About the Author
Julie Opp (1871–1921) was an American stage actress who was for a number of years popular on both sides of the Atlantic Ocean. She was the wife of the Anglo- American actor William Faversham, whom she married shortly after the two co-starred in the 1902 Broadway production, The Royal Rival. Julie (sometimes spelled Julia) Opp was born in New York City on January 28, 1871, the daughter of John “Johnny” and Mary Opp. Johnny Opp, the son of Bavarian immigrants, ran a saloon on Lower Manhattan’s Bowery Street and was also active in local neighborhood politics. Mary Dwyer, a first generation Irish-American, was some thirteen years her husband’s junior and in her late teens when Julie was born. As a child Opp attended public school for a time before her mother decided it best she was educated at a local convent. There she astounded the sisters and amused a bishop by declaring her ambition to become a ballet dancer when he asked what she wanted to be when she grew up. By the time of her graduation journalism had replaced ballet and with the help of a friend she became a fashion writer for the New York Recorder.
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Take the Stagecoach
By Lee Armstrong
Edwin Milton Royal's "The Squaw Man" opened at the Wallack Theatre on Broadway in October 1905 and ran for 222 performances. William Faversham played the lead, Capt. James Wynnegate and his identity of Jim Carston after he moves to the Wild West. Mabel Morrison played the Indian squaw Nat-u-ritch. The play has an adequate structure, starting off in England with wealthy heir Henry Wynnegate raiding the family trust fund to speculate heavily. Of course he winds up losing the family fortune, causing them to default on a commitment to an orphans' home. Jim is the younger more carefree brother, who coincidentally happens to carry a romantic torch for his sister-in-law Diana. Diana is a bright, adventurous woman who prefers the company of Jim and does not return her husband's affection. As the fund goes defunct, Jim volunteers to disappear to the Wild West of America. This allows Henry to avoid suspicion, protects the name of his wife Diana, and casts Jim as the thief.
As the second act arises several years later, Jim has made a name for himself in the West as Jim Carston. Unfortunately, his sister-in-law and brother follow him there. All-around bad guy Cash Hawkins corners Jim and is about to gun him down when quiet Indian beauty Nat-u-ritch fires a gun from the sidelines saving Jim's life.
By the fourth act, more time has passed. Henry died. Diana arrives back. Jim, we learn through some third act exposition, has been rescued several more times from the industrious Nat-u-ritch. Their close association produced a child, Hal. Jim marries Nat-u-ritch and the marriage between a White man and Indian woman creates difficulty in Jim's social position. The English solicitor shows up and persuades Jim that Hal should be taken back to England to be raised as the heir to the large Wynnegate estate. Jim agrees and signs off on sending his child away from both parents.
At this point, the play totally degenerates. It may be unfair to judge a play from the very exacting perspective of 100 years later. But this one sinks. Jim refers to Indians as "the primitive races," showing about as much disrespect as a man could to his wife and a race. As a reader, I am part Native American. I read those racial characterizations with deep anger and resentment -- a reaction not intended by Mr. Royle. Further, the social group believes that it is the father's right to take a child away from his mother. It's insane reasoning that is demeaning to Native Americans and to women who are portrayed as too stupid to make their own decisions. The Indian father is not shown in a much better light as he insists that a wife should obey her husband and that the husband is justified to beat or shoot her if she doesn't. It's hard to believe that a country (USA) that gave the vote to women 15 years later would embrace this tale in 1905. Nat-u-ritch's suicide is an unsatisfying climax. "The Squaw Man" is ultimately offensive 100 years later. It would be best to leave this show in the dusty pages of American theatre history rather than try to resurrect it and waste time in the present onstage. Take the nearest stagecoach away from this stinker!
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