1928-29: The Inspector General, When We Dead Awaken, Dear Brutus, Shadow of a Gunman, Six Characters in Search of an Author, The Critic, The Golem, Lizard Gap.
1929-30: The Makropolous Secret, Ariadne, Kolpak Must Dance, The Rivals, The Field God, Romeo and Juliet, Holiday, Tour du Monde, Escape.
1930-31: The Firebrand, The Sea Gull, Hotel Universe, Rebound, Hay Fever, Lazzaro, The Sacred Flame.
Art Institute of Chicago Bulletin, 1925-31.
Chicago Herald and Examiner, 1925-31.
Kane Whitford. Are We All Met? London: E. Mathews, 1931.
Stevens Thomas Wood. "What he Audience Wants." Theatre Arts Monthly, January 1931, p. 62.
Corvey Lane. "The Birth of a Theatre: The Goodman Memorial Theatre." Master's thesis, Goodman School of Drama, May 1963.
Newall James Samuel. "The Development and Growth of the Kenneth Sawyer Goodman Memorial Theatre and School of Drama, Chicago, Illinois, 1925-71." Ph.D. dissertation, Wayne State University, 1973.
Teague Anna Dean. "Thomas Wood Stevens' Contributions to American Art Theatre with Emphasis on the Kenneth Sawyer Goodman Memorial Theatre, 1922-30." Ph.D. dissertation, Louisiana State University, 1973.
Chicago, Illinois. Art Institute of Chicago. Goodman Theatre programs, 1925-31.
Stephen M. Archer
GRAND OPERA HOUSE STOCK COMPANY. In 1896 the theatrical scene in St. Louis, Missouri, was dominated by the Theatrical Syndicate's Olympic Theatre, under the astute local management of Pat Short. A new theatre, the Century, was scheduled for an early fall opening and would house first-class touring productions. The Standard Theatre offered burlesque and variety to the River City's large immigrant population, and the Fourteenth Street Theatre featured touring repertory companies--the lowest rank of entertainment--and German-language drama by the Heinnemann-Welb Company. Havlin's Theatre and Hagan's Opera House (later the Imperial Theatre and home of the Imperial Theatre Stock Company*, 1897-1900) filled up the middle rank with second- class touring companies in one-week stands.
Colonel John D. Hopkins had recently burst into the midwestern theatrical picture with resident stock companies in Pittsburgh, Chicago, Nashville, and Memphis. He had designs on the untapped market for stock in New Orleans and in St. Louis, and in August 1896 he leased the Grand Opera House, a 2,200- seat behemoth of eleven years age. From Milwaukee he brought Charles Salisbury, a successful stock manager, to assemble and manage a stock company. Hopkins and Salisbury put together an organization of ten actresses, twelve