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Last Updated: 26 Aug 11

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Thomas Lawrason Riggs

THOMAS LAWRASON RIGGS   

Nationality:   n/a    Email:   n/a   Website:   n/a

Literary Agent:  n/a

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Plays by Thomas Lawrason Riggs

Paranoia or Chester of the Yale Dramatic Association

1st Produced:

Hotel Taft, New Haven

24 Apr 1914

Company:

Yale University Dramatic Association

1st Published:

I don't think it has been published. Try emailing Playwright or Agent where listed at top of page.

ISBN/ASIN:

-

Music:

-

doollee no

#131295

To Buy This Play:

If Publisher (above) is underlined then the play may be purchased by direct click from the Publisher, otherwise (below) are AbeBooks for secondhand, signed & 1st eds and other Booksellers for new copies

 

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abebooks.co.uk

stageplays.com

amazon.com

amazon.co.uk

amazon.ca

Genre:

Musical

Parts:

Male

-

Female

-

Parts other:

-

Notes:

Music, lyrics and book by Cole Porter; Thomas Lawrason Riggs

Synopsis:

n/a

Further Reference:

-


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See America First

1st Produced:

Maxine Elliott Theatre, New York

28 Mar 1916

Company:

n/a

1st Published:

I don't think it has been published. Try emailing Playwright or Agent where listed at top of page.

ISBN/ASIN:

-

Music:

-

doollee no

#131296

To Buy This Play:

If Publisher (above) is underlined then the play may be purchased by direct click from the Publisher, otherwise (below) are AbeBooks for secondhand, signed & 1st eds and other Booksellers for new copies

 

abebooks.com
abebooks.co.uk

stageplays.com

amazon.com

amazon.co.uk

amazon.ca

Genre:

Musical

Parts:

Male

-

Female

-

Parts other:

-

Notes:

Music and lyrics by Cole Porter; book by Thomas Lawrason Riggs

See America First

An East Coast Senator sends his daughter to a finishing school in the West in the hopes that she will find a "real" man. She has been in touch with a Duke that she met at the opera and he follows her disguised as a cowboy

Further Reference:

-


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Apart from very popular and world touring productions, many performing arts events are largely forgotten about in a matter of months. Traces may remain in various collections, but few collecting agencies, such as libraries, catalogue each flyer or program individually. Hence, unless one knows that an event took place at a certain time in a certain place, tracking down such an event as part of a research project is often a matter of chance. Where research needs to be carried out on high profile and well-documented productions only, this is not a problem. However, both the historian and the analyst will attest that the cultural, political, or sociological context in which a performing arts event takes place is also of major importance, as are the other events that took place in close proximity, either in place or time. A good overview of such productions provides us with a 'social document' that can greatly enhance cultural studies in ways that extend far beyond the narrow confines of theatre history. For instance, data such as this can be used to monitor the health of communities, particularly when used in association with data obtained from other social science disciplines. When one researches a particular playwright one might want to know about all the productions of plays by that author; if one wants to investigate what choices a particular audience had over a period of history and compare this to, say, an ethnic breakdown of the population, one would need to know broadly all the events that took place during that time. If one wanted to do a statistical analysis on the shift in popularity of a genre over one or more generations, it is important to have knowledge of most of the relevant major and minor performance events that took place. In this context, issues of aesthetic quality and the professionalism of a production - which will of course have an impact on such studies - are not the determining factors when deciding to include or exclude events, since all events are the raw material for such research.