Las Instantaneas (The Snapshots), El amigo del alma (The Friend of the Soul); and the following one-act comic pieces with music: La gatita blanca (The White Cat), Meterse en Honduras (Get in over One's Head), La Nodriza (The Governess), El terrible Perez (Perez the Terrible), Lohengrin, La Reja de la Dolores (The Window Grate of Dolores), La señora capitana (The Woman Captain), La balsa de aceite (The Pool of Oil), El barquillero (The Cake Maker), El globo terraqueo (The Terraced Haven), El dinero y el trabajo (Work and Money), La marcha de Cadiz (The March of Cadiz), La revoltosa The Turbulence), El Raton (The Mouse), El fantasma de la esquina (The Phantasm at the Corner), Quien fuera libre (Who Would be Free), El perro chico (The Small Dog), La trajedia de Pierrot (The Tragedy of Pierrot), El puñao de rosas (The Bunch of Roses), Ensenanza libre (Free Lessons), Ya somos tres (Now We Are Three) , El bateo (The Mix up), El pobre Balbuena (Poor Balbuena), Chin Chun Chan, Como esta la sociedad (How Society 1s), Los africanistas (The Africanists), Mari Juana (Mary Jane), Las bribonas (The Vagrants), La niña de los besos (The Girl of Kisses).
1916-17: Arturo o amor de madre (Arthur or the Love of a Mother), with El globo terraqueo (The Terraced Haven).
La Prensa, San Antonio, 1913-17.
Brokaw John W. "A Mexican-American Acting Company, 1849-1924." Educational Theatre Journal 27 ( 1975): 23-27.
Elizabeth C. Ramírez "A History of Mexican American Professional Theatre in Texas: 1875-1935." Ph.D. dissertation, University of Texas, Austin, 1982.
Austin, Texas. Latin American Library at the University of Texas at Austin. The Mexican- American Library Collection contains "Memoirs" of Carlos Villalongín; private collection of Sra. María Luisa Villalongín de Santos, San Antonio, Texas; and a program announcing the reopening of the "New Teatro Nacional" in San Antonio, c. 1930.
Elizabeth C. Ramírez
[MR.] PALMER'S COMPANY. Mr. Palmer's Company (ostensibly New York City-based) comprised remnants of A. M. Palmer's Madison Square Theatre Company, which had been crowded onto the road by combination bookings.
By 1888, Palmer's Madison Square Theatre--alternating between stock and combination attraction--had supplanted the downtown Union Square Theatre as the hub of New York's theatrical activity; but the metropolis's fashionable element was even then gravitating still further uptown. A. M. Palmer had elicited oblique interest in Wallack's Theatre, at the northeast corner of Broadway and Thirtieth Street late in 1880, when he expressed his intention of moving uptown. Again, in spring 1883, he contemplated controlling--perhaps erecting--a large uptown theatre, and the following year he, Harrison Grey Fiske, and M. B. Leavitt sought to build a theatre on Forty-second Street, near Sixth Avenue, but