https://archivalgossip.com/collection/files/original/8cb25843e779219c6d84d46df464e644.JPG cca78aa1fd13463cd2952a8eb8ca4fdd Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Portrait of Charlotte Cushman Source A related resource from which the described resource is derived Portrait of Charlotte Cushman by Wilhelm Trautschold, ca. 1847 ( Folger Shakespeare Library) Publisher An entity responsible for making the resource available Easley, Alexis. "Victorian Iconoclast. Eliza Cook (1812-1889)." Celebrity Authorship and Afterlives in English and American Literature, edited by Gaston Franssen and Rick Honings, Palgrave Macmillan UK, 2016, pp. 81. https://archivalgossip.com/collection/files/original/f69b22a0f91b3fde6511f6aeea1048d8.jpg ef2c82180d6ae7290c133d1942834467 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Charlotte Cushman as Lady Macbeth Creator An entity primarily responsible for making the resource Harvard Theatre Collection Source A related resource from which the described resource is derived Dudden, Faye E.. Women in the American Theatre: Actresses & Audiences 1790-1870, Yale UP: New Haven and London, 1994, pp.91. https://archivalgossip.com/collection/files/original/1b6a2e993f71f615871a69a8dc37833d.jpg 3703a414138e48ed7a08dec413eabf45 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Figurines of Charlotte and Susan Cushman (as Shakespeare's Romeo and Juliet respectively) Source A related resource from which the described resource is derived The Art Collection of the Folger Shakespeare Library Publisher An entity responsible for making the resource available Dudden, Faye E.. Women in the American Theatre: Actresses & Audiences 1790-1870, Yale UP: New Haven and London, 1994, pp.97. https://archivalgossip.com/collection/files/original/407a6ae1ced8d1effd3c58cfd736af78.jpg ccac5698bab3d50cfa32b5ffbd5ce2b6 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Charlotte and Susan Cushman as Romeo and Juliet, respectively Source A related resource from which the described resource is derived Harvard Theatre Collection Publisher An entity responsible for making the resource available Dudden, Faye E.. Women in the American Theatre: Actresses & Audiences 1790-1870, Yale UP: New Haven and London, 1994, pp.95. https://archivalgossip.com/collection/files/original/6012939a0eaa867e175e68eab08a1566.jpg cdcb367910b174a708f9947843b44b90 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Charlotte Cushman as Meg Merrilies Source A related resource from which the described resource is derived Harvard Theatre Collection Publisher An entity responsible for making the resource available Dudden, Faye E.. Women in the American Theatre: Actresses & Audiences 1790-1870, Yale UP: New Haven and London, 1994, pp.87. https://archivalgossip.com/collection/files/original/315f7beb1885f6a0d02fb1623d22bdab.jpg bc6cf0ef904407856a16ace786ac0d30 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Portrait of Charlotte Cushman Description An account of the resource Charlotte Cushman, three-quarter length studio portrait, facing right, seated with her left arm resting on the arm of the chair Source A related resource from which the described resource is derived Marian S. Carson collection, Library of Congress Publisher An entity responsible for making the resource available Richards, F. De B, photographer. <cite>Charlotte Cushman, three-quarter length studio portrait, facing right, seated with her left arm resting on the arm of the chair</cite>. [Place not identified: publisher not identified, between 1850 and 1860] Photograph. Retrieved from the Library of Congress, <<a href="http://www.loc.gov/item/2015651567/">www.loc.gov/item/2015651567/</a>>. Date A point or period of time associated with an event in the lifecycle of the resource 1850 https://archivalgossip.com/collection/files/original/6be8962030c9358824e572aa8e13b2a1.JPG 7d0553ef3a9216fbcf1c7fbe729186f1 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Charlotte Cushman Description An account of the resource From a Daguerreotype by Root of Philadelphia. Source A related resource from which the described resource is derived <a href="https://fromthepage.com/upenn/thompson-westcott-scrapbooks-of-the-history-of-the-philadelphia-stage/history-of-the-philadelphia-stage-between-the-years-1749-and-1855-by-charles-durang-volume-4-arranged-and-illustrated-by-thompson-westcott-1868/display/1157202">https://fromthepage.com/upenn/thompson-westcott-scrapbooks-of-the-history-of-the-philadelphia-stage/history-of-the-philadelphia-stage-between-the-years-1749-and-1855-by-charles-durang-volume-4-arranged-and-illustrated-by-thompson-westcott-1868/display/1157202</a> https://archivalgossip.com/collection/files/original/e7978ea9af6178d61d9b59cc966546f4.jpg d06211424c59d9068ed9f73ee5f30214 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Young Charlotte Cushman Source A related resource from which the described resource is derived <a href="https://digitalcollections.frick.org/digico/#/details/bibRecordNumber/b12059419/Photoarchive">https://digitalcollections.frick.org/digico/#/details/bibRecordNumber/b12059419/Photoarchivehttps://imagesdigitalcollections.frick.org/media/id/d0a43b84557d14c5d8292a6b860df46d/large</a> https://archivalgossip.com/collection/files/original/1308c347b95fb3132476037642c76eec.jpg e51d6136c68abf11e233c1eab1d8b29c Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Charlotte Cushman in Taming of the Shrew Source A related resource from which the described resource is derived <a href="https://digitalcollections.frick.org/digico/#/details/bibRecordNumber/b11675470/Photoarchive">https://digitalcollections.frick.org/digico/#/details/bibRecordNumber/b11675470/Photoarchive</a> https://archivalgossip.com/collection/files/original/890c9a665fc4f1040590021fe4b6ecd3.jpg ee046d818f0cdb866367199039e5c238 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Charlotte Cushman as Joan of Arc Source A related resource from which the described resource is derived <a href="https://digitalcollections.frick.org/digico/#/details/bibRecordNumber/b11675482/Photoarchive">https://digitalcollections.frick.org/digico/#/details/bibRecordNumber/b11675482/Photoarchive</a> https://archivalgossip.com/collection/files/original/2731d73c38112bc9d7944030298c84e4.jpg f1406c5ab4a9f2a7f4a41b29f45ac0d9 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Charlotte Cushman, 1817-1876, caricature Source A related resource from which the described resource is derived The Library Company of Philadelphia, <a href="https://digital.librarycompany.org/islandora/object/digitool%3A126507">https://digital.librarycompany.org/islandora/object/digitool%3A126507</a>. Accessed 25 Jan 2021. Date A point or period of time associated with an event in the lifecycle of the resource 1855 https://archivalgossip.com/collection/files/original/d029e614a9899f3b2ef28fd1ca4b8757.jpg 1a957afedf6588c9ff1e8e035d37059f Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Charlotte Saunders Cushman "of the Walnut Street Theater." Description An account of the resource Oil on canvas ; 20 x 17 1/2 (3 x 5) inches ; Framed: 29 5/8 x 26 5/8 x (3 3/4+1)4 3/4 inches. Cushman was the stage manager of the Walnut Street Theater in Philadelphia from 1842 to 1844, and this portrait was painted during that time. The Folger Shakespeare Library has an almost identical portrait of Charlotte Cushman, also painted by Sully, which was donated to them in 1936 by Mrs. Vincent Cushman, wife of Charlotte's nephew. Brewster, Anne Anne M. H. (Anne Maria Hampton), 1819-1892, former owner Brewster <a href="https://storymaps.arcgis.com/stories/32c1987ce24c4317a673bf9195d0a2e8">donated the painting to the Library Company of Philadelphia</a>. Creator An entity primarily responsible for making the resource Sully, Thomas, 1783-1872 Source A related resource from which the described resource is derived The Library Company of Philadelphia, <a href="https://digital.librarycompany.org/islandora/object/digitool:59342">https://digital.librarycompany.org/islandora/object/digitool:59342</a>. Accessed 25 Jan 2021. Date A point or period of time associated with an event in the lifecycle of the resource 1843 https://archivalgossip.com/collection/files/original/b643c2a9e2d4693eb53ba62315de8202.jpg e03d84fd617be2f033969ff6c2f50d06 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Charlotte Saunders Cushman [graphic] Description An account of the resource 1 photographic print : albumen on carte de visite mount ; 4 x 2.5 in. (10 x 6 cm.) Source A related resource from which the described resource is derived The Library Company of Philadelphia, <a href="https://digital.librarycompany.org/islandora/object/Islandora%3A64037?solr_nav%5Bid%5D=bbc3cf44c210eea4f97f&solr_nav%5Bpage%5D=0&solr_nav%5Boffset%5D=2">https://digital.librarycompany.org/islandora/object/Islandora%3A64037?solr_nav%5Bid%5D=bbc3cf44c210eea4f97f&solr_nav%5Bpage%5D=0&solr_nav%5Boffset%5D=2</a>. Accessed 25 Jan 2021. Date A point or period of time associated with an event in the lifecycle of the resource ca. 1870 https://archivalgossip.com/collection/files/original/ac151a651352750fac85e26087d0a644.jpg 0020ca55c88c69433f0fd5e409518635 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Miss Charlotte Cushman Source A related resource from which the described resource is derived "Miss Charlotte Cushman." The Critic, vol. 20, no. 513, 1860, pp. 557-558. ProQuest, <a href="https://search.proquest.com/historical-periodicals/miss-charlotte-cushman/docview/4890764/se-2?accountid=8517">https://search.proquest.com/historical-periodicals/miss-charlotte-cushman/docview/4890764/se-2?accountid=8517</a>. Publisher An entity responsible for making the resource available The Critic (20/513), London, page 557 Date A point or period of time associated with an event in the lifecycle of the resource 1860-05-05 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Cushmania Subject The topic of the resource Cushman, Charlotte Saunders, 1816-1876 Stebbins, Emma, 1815-1882 Gossip--Published Gossip--Private Relationships--Networks Italy--Rome Description An account of the resource A collection of archival material (letters, diaries, articles, auto/biographical accounts) collected from different archives (cf. <a href="https://www.archivalgossip.com/sources/archives/">list</a>) that showcase the life of Charlotte Cushman, one of the most successful US American actresses of the nineteenth century. We invite you to either look for specific items via the tag cloud at the bottom of the page or the search function at the top, <a href="https://archivalgossip.com/collection/items/browse?collection=1" target="_blank" rel="noopener">browse all items</a> in this collection, or explore thematic compilations of selected items in our "<a href="https://archivalgossip.com/collection/exhibits" target="_blank" rel="noopener">Exhibits</a>." <h6 style="text-align: center;"><a href="https://archivalgossip.com/collection/files/original/c4226e025914fe32ca1542c728bd11cc.JPG"><img title="Item Locations" alt="Item Locations" src="https://archivalgossip.com/collection/files/original/c4226e025914fe32ca1542c728bd11cc.JPG" style="display: block; margin-left: auto; margin-right: auto;" width="349.5" height="237.5" /></a>(<a href="http://hdlab.stanford.edu/palladio/">Palladio</a> visualization, Dec 2021: location of items in collection, size nodes)</h6> <h6 style="text-align: center;"><a href="https://archivalgossip.com/collection/files/original/44bccce1e23bf9efe34d0078d3cc97f0.JPG"><img title="Item Locations" alt="Item Locations" src="https://archivalgossip.com/collection/files/original/44bccce1e23bf9efe34d0078d3cc97f0.JPG" style="display: block; margin-left: auto; margin-right: auto;" width="349.5" height="324.5" /></a>(<a href="http://hdlab.stanford.edu/palladio/">Palladio</a> visualization, Dec 2021: letter correspondence for items that have values defined for "location sender" AND "location recipient," size nodes)</h6> Source A related resource from which the described resource is derived Library of Congress New York Public Library Philadelphia Historical Society Date A point or period of time associated with an event in the lifecycle of the resource 1816-00-00/1920-00 Person An individual. Birth Date 1816-07-23 Death Date 1876-02-18 Occupation actress Admin Comment Comments for further research, pending questions, tasks that still have to be completed if you want to search for more resources: https://snaccooperative.org/ark:/99166/w6222s46#resources LoC Finding Aid (Nov 4, 2019): <ul> <li>1816, July 23 Born, Boston, Mass.</li> <li>1835 Operatic debut as Countess Almaviva in The Marriage of Figaro, Tremont Theatre, Boston, Mass.</li> <li>Strained voice during performance at the St. Charles Theatre, New Orleans, La.; turned to acting</li> <li>1836 First performance as Lady Macbeth in a benefit production of Macbeth, New Orleans, La.</li> <li>Debut, Bowery Theatre, New York, N.Y., as Lady Macbeth</li> <li>1837 First appeared as Meg Merrilies in Guy Mannering</li> <li>1842-1844 Stage manager, Walnut Street Theatre, Philadelphia, Pa.</li> <li>1844 Toured with William Charles Macready</li> <li>Went to England</li> <li>1845 Debut in London, England, as Bianca in Fazio at the Princess Theatre</li> <li>[1847: Macready and Cushman are still performing together at the Princess's]</li> <li>1849 [not really?]-1852 Toured in America</li> <li>[1850 Aug: CC leaves England for NY]</li> <li>1852 Announced retirement and moved to England [however, throughout the 1850s, she was still performing in England]</li> <li><a href="https://www.browningscorrespondence.com/correspondence/4014/?rsId=223325&returnPage=2">The Beginning and the End by Maria Anne Lovell (1803–77) opened at the Haymarket on 27 October 1855 and closed on 31 October after four performances. Charlotte Cushman played the lead role of Hester Lambert, the servant of a miserly merchant who incites her husband to forge the merchant’s will</a></li> <li>1857 Returned to America to appear as Cardinal Wolsey in Henry VIII, Burton's Theatre, New York,</li> <li>1857 (ca. Jan): Readings of '<a href="https://www.browningscorrespondence.com/correspondence/4306/?rsId=223325&returnPage=2">Aurora</a>' in Rome</li> <li>[1858 July 6, CC retired again in US]</li> <li>[July 1858, CC leaves for Liverpool]</li> <li>1858-1870 Lived in semi-retirement, Rome, Italy</li> <li>1860 Performed in New Haven, Conn.</li> <li>1863 Gave series of performances on behalf of the United States Sanitary Commission</li> <li>[1871 performed in US again]</li> <li>1874 Farewell performance at Booth's Theater, New York, N.Y.</li> <li>1875 Farewell performance in Boston, Mass.</li> <li>Last appearance on stage, Easton, Pa.</li> <li>1876, Feb. 18 Died, Boston, Mass.</li> </ul> Markus: CC inspired James's the "Golden Bowl following Mrs. Siddons's example she moves to England (Howitt) her brother fell off horse and died prior to 1839 correspondence with JF: , influence, money issues, AM, books author: e.g. in Godey's Culkin, Harreit Hosmer's biographer, describes Charlotte Cushman's and Emma Crow's relationship while using the ahistorical term 'heterosexual' for this context: <ul> <li>“The relationship put Harriet in an awkward spot, and she struggled over how to handle it in her correspondence with the Crow family. She first praised the liaison, writing to Cornelia, "I am so glad Miss Cushman & Emma are such great friends - I shouldn't have been jealous if even you Corney mine were equally enamored for she is so good & kind & really like a mother to me," [HH to CCC, May 15, 1858, HGH Papers, folder 112, reel 5] Harriet went so far as to tell the elder Crow that such female friendships were considered normal in Rome, writing that Cushman and his daughter were "what we this side of the ocean call 'lovers.'" [HH to Wayman Crow, July 17, 1858, HGH Papers, folder 94, reel 3] Soon, however, she took a different approach, promising him to "keep a sharper look out on Miss Cushman & not allow her to go on in this serious manner with Emma." She added, "it is really dreadful & I am really jealous." [HH to Wayman Crow, Dec 22, 1858, HGH Papers, folder 94, reel 3] Crow may have written the sculptor a letter expressing his concern, or Harriet may have just become nervous about how the relationship between Emma and Cushman would affect her own relationship with her patron. Harriet was usually circumspect about her relationships with women in letters to Crow, and she had already portrayed her decision not to marry a man as a sacrifice she made for her art.  She now made sure to present herself as a woman unmarried not by choice, but by circumstance, placing herself within heterosexual norms. She suggested that Crow reminded Emma that "unless she restrains her emotions she will never get a husband," adding, "Tell her I speak from experience." [HH to Wayman Crow, Dec 22 1858, HGH Papers, folder 94, reel 3] Harriet's words to her patron may have also been motivated by the jealousy she mentioned to Crow. The thought of having one more person taking up the time and support Cushman used to give her may have led her to try to drive a wedge between the women. In any case, just before the sisters arrived, Harriet promised their father that "nothing shall be left undone to make them comfortable, moral, & happy." [HH to Wayman Crow, Rome, Oct 14, [1859], HGH Papers]”  (Culkin 64)</li> </ul> <ul> <li>the use of the word 'unorthodox': "Cushman's nephew Ned, whom she had adopted, was in the city, and the actress encouraged a courtship between the two young people, even as she pursued her own relationship with Emma. The unorthodox arrangement allowed the women a socially acceptable way to remain in close contact." (Culkin 64)</li> </ul>  “To understand the social position of women in female marriages, it is helpful to distinguish between subculture and a network. Charlotte Cushman did not belong to a subculture, a type of social group that tends to be organized around a limited number of shared traits and that coheres through its separation from the mainstream. She did, however, belong to a network, a form of social alliance whose strength derives from its relative openness and internal variety and from its links to other networks. Overlapping sets of acquaintances as well as shared identities define networks; the stronger the network, the greater the number and type of groups to which it is linked. Cushman's network thus included women in or interested in relationships with other women and had many links to people who were not in same-sex couples. Her circle overlapped considerably, for example, with the Browning circle, which consisted of highly respected artists who lived in Italy to get distance from their immediate families, access to a warmer climate, and exposure to Italy's historic culture. Charlotte Cushman's integration into multiple networks shows how easily same-sex relationships between women were assimilated to the model of marriage. Indeed, as Merrill notes, Cushman's relationships with Matilda Hays and Emma Stebbins helped incorporate the actress into many networks by giving her an aura of propriety and respectability (190).” (Marcus 202) Secondary Texts: Comments Secondary sources that have explicitly commented on the respective item or raised important concerns/questions that are of interest Culkin mentions that Charlotte Cushman met Wayman Crow because of Harriet Hosmer. At least, Harriet fostered Charlotte's professional relationship with Crow because of Harriet's experience with Wayman Crow manging her finances: "Emma and Mary Crow, Cornelia's younger sisters, came to visit in November 1859. The event was more complicated than a mere reunion. The year before, Charlotte Cushman had performed in St. Louis and met with Wayman Crow, whom she wanted to manage her finances, as he did Harriet's. Emma Crow, like Harriet almost a decade before, had responded passionately to Cushman's performance, and the two women had begun to exchange love letters. The situation was thorny." (Culkin 63) When Hosmer moved out of the Cushman household in 1865, this had immediate consequences for Charlotte's relationship with <a href="https://archivalgossip.com/collection/items/show/6">Emma Crow Cushman</a>: "In 1865 Harriet moved into her own apartment at 26 Via delle Quattro Fontane. While the artist boasted of the glories of her new studio, she described her home as 'modest but elegant.' She claimed to be happy with the new arrangement, but admitted it would be difficult to leave the place she had called home for five years. Cushman immediately had Harriet's old rooms renovated for Emma and her husband, Ned, who had been appointed the U.S. consul in Rome, in large part thanks to Charlotte's efforts. Emma had recently given birth to the couple's first son, Wayman. For Harriet, a significat chapter in her life came to a close with the change of address, underscored by the quick handover of her quarters. One benefit of Ned and Emma Cushman's presence in Rome was an increased incentive for the rest of the Crow family to visit Europe. Wayman and Isabella crossed the Atlantic with several of their children, including Corney, in the fall of 1865, and Harriet traveled with them to Switzerland." (Culkin 97) About the beginnings of the 1840s and Charlotte's profession as an actress-manager of the Walnut Street Theatre, Merrill writes that Charlotte was "at a crossroads, at a point of transition from one stage in her life to another, an in the personal and professional relationships she would forge in the next few years she would come to experience and represent herself differently – more decisively – as a performer, as a woman, and as a woman who loved other women" (53). On the issue of female sexuality in the nineteenth century, Merrill writes that for "Charlotte and many of her contemporaries the belief that respectable women lacked 'carnal motivation,' that women were somehow innately pure and more 'moral' than men, was advantageous for women in several ways. This belief created a certain sexual solidarity among women, and it allowed women into the public sphere to discharge their 'purifying' influence. And an area of society that many Americans felt in particular need of purifying was the stage" (55). Parrott draws attention to the tradition of the American press to present expatriate women as 'Corinnes' and ambassadors. Cushman was one of them: "Fuller […] identified with the model of Corinne. […] Her death was seen by many as the inevitable tragic culmination of her non-conforming, dangerously ambitious life. […] Because Cushman was less controversial and intellectual than Fuller, her public appeal was broader. Cushman became America's preeminent improvisatrice after Fuller's death. […] The Chicago Times perceived Cushman as an 'ambassadress for America.' Her fans and reviewers referred to her as 'Our Charlotte,'"(Parrott 313) James Maeder "arranged for her first professional appearance, in April 1835, as Countess Almaviva in The Marriage of Figaro. She joined the maeders on an operatic tourr to New Orleands, but her voice did not live up to its early promise, a failure Miss Cushman later attributed to its having been strained to develop in the wrong register. Advised by James Caldwell, manager of New Orleans' chief theatre, the St. Charles, to turn to acting, she made her debut there on April 1836 as Lady Macbeth" (Kleinfield 423) "She was elected to the New York University's Hall of Fame in 1915, and as late as the 1940's 'Charlotte Cushman Clubs' continued to flourish in Boston, Philadelphia, Chicago, and other cities" (Kleinfield, <a href="https://books.google.de/books?id=rVLOhGt1BX0C&pg=RA2-PA127&lpg=RA2-PA127&dq=happy+women+1913+powell&source=bl&ots=mcCEkPQcjg&sig=ACfU3U1t-tHXO_btUJ_IY9aGzMAo5Cd1rw&hl=en&sa=X&ved=2ahUKEwjYnq7F8OnnAhWHTcAKHbWJCr8Q6AEwDHoECAkQAQ#v=onepage&q=charlotte%20cushman&f=false">"Charlotte Cushman"</a> 424) referring to Cushman and Stebbins as companions: "Generous and solicitous toward her friends, Miss Cushman could also be extremely possessive and domineering in her well-meant efforts to advance their careers." (Kleinfield, <a href="https://books.google.de/books?id=rVLOhGt1BX0C&pg=RA2-PA127&lpg=RA2-PA127&dq=happy+women+1913+powell&source=bl&ots=mcCEkPQcjg&sig=ACfU3U1t-tHXO_btUJ_IY9aGzMAo5Cd1rw&hl=en&sa=X&ved=2ahUKEwjYnq7F8OnnAhWHTcAKHbWJCr8Q6AEwDHoECAkQAQ#v=onepage&q=charlotte%20cushman&f=false">"Charlotte Cushman"</a> 424) "The public appearances of her later years did not stem, as was sometimes suggested, from an unseemly desire to postpone her retirement, but from the need to find relief from pain and forgetfulness in work" (Kleinfield, <a href="https://books.google.de/books?id=rVLOhGt1BX0C&pg=RA2-PA127&lpg=RA2-PA127&dq=happy+women+1913+powell&source=bl&ots=mcCEkPQcjg&sig=ACfU3U1t-tHXO_btUJ_IY9aGzMAo5Cd1rw&hl=en&sa=X&ved=2ahUKEwjYnq7F8OnnAhWHTcAKHbWJCr8Q6AEwDHoECAkQAQ#v=onepage&q=charlotte%20cushman&f=false">"Charlotte Cushman"</a> 424) About Cushman in Italy, Leach argues that "[a]bout her status among the Italians, Cushman cared not at all" (Leach 255). Milly Williamson sketches the European context for rise of actresses to public success in relation to reputation management and gender norms in the 19th century: "Throughout the nineteenth century, the role of the theatrical star became increasingly important. After 1843, when patent protection for legitimate theaters ended, respectable theater grew. So did the power of the theatrical star, who was often both actor and theatrical manager, including female actor managers. With their growing importance, women actor managers attempted to control their own public images and present a respectable self." (Williamson, Milly. “Celebrity, Gossip, Privacy, and Scandal.” The Routledge Companion to Media and Gender, edited by Lisa McLaughlin et al., Routledge, 2014, pp. 316) Birthplace Richmond Street, Boston Sex Female Nationality US-American Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Charlotte Cushman Type The nature or genre of the resource Person Reference Identifier An unambiguous reference to the resource within a given context 0001 Subject The topic of the resource Cushman, Charlotte Saunders, 1816-1876 Actors and Actresses Actors and Actresses--US American Description An account of the resource Charlotte Cushman becomes widely known on both sides of the Atlantic as the first successful US-American actress. Earlier, she was a singer under the tutelage of James G. Maeder, married to actress Clara Fisher, in Boston. Charlotte has been the sole financial support of her mother since her father left the family. She left school at thirteen. Charlotte is the oldest of five children. In April 1835, she acts on stage for the first time. She performs numerous roles over the span of her fourty-years long career, many of them breeches roles. She embodies what is known as a 'masculine' style. With her sister Susan, Charlotte performed her famous role of Romeo on various stages.  Charlotte is romantically involved with several women, among them poet Eliza Cook, writer Matilda Hays, and – for nearly two decades – sculptor Emma Stebbins (whom she met at a Shakespeare reading). Stebbins and Cushman are considered to be 'married' among those people that share some kind of intimate relationship with Cushman and know about her sexuality and relationships. Both her sexuality and her performances inspire gossip throughout her lifetime – as well as later in the twentieth century when biographers and scholars attempt to reconstruct her career and life. Cushman proves to be a master of managing her reputation to increase her perceived respectability and to shape her public image in her favor. Performing on different stages, she travels to various cities both in the US and in Europe. She repeatedly crosses the Atlantic. She spends a considerable amount of her life in Rome where she is part of and actively shapes a social circle of women, mostly sculptors and writers. In Rome, she lives in Via Gregoriana 38. In 1869, she is diagnosed with breast cancer and undergoes surgery. In 1874, she starts her last Farewell Tour in NYC, Boston, and Philadelphia. She dies at the age of 59. Cushman performes, among others, as Romeo, Hamlet, Cardinal Wolsey, Nancy Sykes and Meg Merrilies.