1. Autobiography of George Appo (typewritten manuscript), box 32, Society for the Prevention of Crime Papers, Rare Book and Manuscript Library, Columbia University, New York (hereafter cited as Appo), 72–74.

2. New York World, New York Journal, New York Tribune, New York Herald, and New York Sun clippings, September 1, 1885, and Sun and New York Times clippings, 09 2, 1885Google Scholar, all in vol. 13; and unmarked clipping, November 18, 1885, and World clipping, December 2, 1885, both in vol. 15, New York City District Attorney Scrapbooks (hereafter cited as DAS), New York City Municipal Archives and Records Center, New York (hereafter cited as NYCMA). Price defended Appo in an earlier assault case (see Appo, 21–23; New York Times, 08 6, 7, and 8, 1880Google Scholar; Tribune, August 7, 1880; Brooklyn Eagle, August 7, 1880; and Police Court Docket Book, First District, vol. 17, p. 32, microfilm roll 21, negative 10167, August 6, 1880, in NYCMA).

3. New York Morning Advertiser clipping, 06 17, 1894 (Rathbone), vol. 128, DASGoogle Scholar; Pinkerton, Allen, Thirty Years a Detective (Chicago: W. H. Thompson, 1884), 71 (most remunerative)Google Scholar; and Tribune, September 11, 1894. On green goods, see Crapsey, Edward, The Nether Side of New York; or, the Vice, Crime, and Poverty of the Great Metropolis (New York: Sheldon, 1872), 63–73Google Scholar; Comstock, Anthony, Frauds Exposed; or, How the People Are Deceived and Robbed, and Youth Corrupted (New York: J. H. Brown, 1880), 196–201Google Scholar; Pinkerton, , Thirty Years a Detective, 71–81Google Scholar; and Byrnes, Thomas, Professional Criminals of America (New York: Cassell, 1886), 47–49Google Scholar, and second edition (New York: G. W Dillingham, 1895), 32–34. Appo claimed that operator James McNally earned an average of $8,000 per day and possessed wealth of $100,000. Other testimony claimed that the largest sum ever swindled on a single day was $3,500 (see New York State Senate, Report and Proceedings of the Investigation of the Police Department of the City of New York, Senate Doc. 25 [Albany: James B. Lyon, 1895]Google Scholar [hereafter cited as Lexow Committee], 2:1639, 1647, 1812). On fortunes of $50,000 to $200,000, see Moss, Frank, The American Metropolis, from Knickerbocker Days to the Present Time; New York City Life in All Its Various Phases (New York: P. F. Collier, 1897), 3:136–38Google Scholar.

4. Cincinnati Times-Star, January 19, 1895 (most noted). Descriptions of Gould appear in Walling, George W.'s Recollections of a New York Chief of Police: An Official Record of Thirty-eight Years as Patrolman, Detective, Captain, Inspector and Chief on the New York Police (New York: Caxton Book Concern, 1887), 484Google Scholar; and New York Times and Tribune, February 20, 1900. On Gould's criminal record, see People v. Thomas Gould, February 12, 1880, and People v. Thomas Gould, February 8, 1887, box 256, folder 2476, both in New York City Court of General Sessions, District Attorney Papers, NYCMA (hereafter cited as DAP); People v. Thomas Gould, October 13, 1886, in New York City Court of General Sessions, District Attorney Papers, NYCMA; and July 9, 1886, clipping, vol. 22, Sun clipping, September 5, 1886, vol. 25, and World clipping, February 18, 1887, vol. 32, all in DAS. On fronts, see Herald clipping, January 6, 1887, vol. 30, DAS. The informal boundaries of the Tenderloin changed throughout the 19th century. By the 1890s, the area was roughly bounded by 23rd Street, Eighth Avenue, 57th Street, and Fifth Avenue (see Gilfoyle, Timothy J., City of Eros: New York City, Prostitution, and the Commercialization of Sex, 1790–1920 [New York, 1992], 203–10Google Scholar).

5. Sun, September 29, 1894. Appo claimed he rehearsed for only one week before the production opened, indicating that this initial encounter took place in November 1894. Lederer originally announced that the production would open in Philadelphia, but no mention of the production appeared in The Stage and in the Music and Drama sections of the Philadelphia Evening Bulletin (November 12, 17, 24, and 27, 1894) or in This Week's Play Bills in the Philadelphia Inquirer (November 11, 18, and 25, and December 2, 1894).

6. I was unable to locate a published copy of In the Tenderloin. I compiled this description of the plot from the In the Tenderloin playbill, People's Theater, December 17, 1894, and World, October 21, 1894, clipping file, both in Billy Rose Theater Collection, Lincoln Center, New York Public Library, New York (hereafter cited as BR); Herald, November 30, 1894; Cincinnati Tribune, January 20, 1895 (glitter and trickeries); Cincinnati Times-Star, January 19, 1895 (Cody and Stokes); and Indianapolis News, January 29, 1895. I could not locate a copyrighted version of In the Tenderloin in Library of Congress Copyright Office, Dramatic Compositions Copyrighted in the United States, 1870 to 1916 (Washington, D.C.: Government Printing Office, 1918), 1:2290–91Google Scholar. No written record exists in the dramatic compositions collections in the Manuscript Division, Library of Congress. No musical composition entitled “In the Tenderloin” (or something similar) authored by “E. Price” can be found in the Music Division, Library of Congress. Frederic Bryton was best known as the star of Forgiven, which he played over one thousand times (see Odell, George C. D., Annals of the New York Stage [New York: Columbia University Press, 1949], 13:47, 384, 466, 562, 585Google Scholar; 14:76; and 15:54, 77, 816).

7. On melodrama, see Brooks, Peter, The Melodramatic Imagination: Balzac, Henry James, Melodrama, and the Mode of Excess (1976; rept. New York: Columbia University Press, 1985), 13–16, 30–31Google Scholar; Snyder, Robert W., The Voice of the City: Vaudeville and Popular Culture in New York (New York: Oxford University Press, 1989), 1–7Google Scholar; Grimsted, David, Melodrama Unveiled: American Theater and Culture, 1800–1850 (Chicago: University of Chicago Press, 1968), 175–248Google Scholar; McConachie, Bruce A., Melodramatic Formations: American Theatre and Society, 1820–1870 (Iowa City: University of Iowa Press, 1992)CrossRefGoogle Scholar; and Erenberg, Lewis A., Steppin' Out: New York Nightlife and the Transformation of American Culture, 1890–1930 (Westport, Conn.: Greenwood, 1981), 16–17Google Scholar. Recent interpretations include Barish, Jonas, The Antitheatrical Prejudice (Berkeley: University of California Press, 1981)Google Scholar; Auerbach, Nina, Private Theatricals: The Lives of the Victorians (Cambridge, Mass.: Harvard University Press, 1990)CrossRefGoogle Scholar; Litvak, Joseph, Caught in the Act: Theatricality in the Nineteenth-Century Novel (Berkeley: University of California Press, 1992)Google Scholar; and Voskiul, Lynn, “Spectators of Ourselves: Performing Identities in Victorian Culture” (Ph.D. diss., University of Chicago, 1994)Google Scholar.

8. Indianapolis News, 01 29, 1895 (destroyer)Google Scholar; and Life, 12 27, 1894, 416–17Google Scholar.

9. World, October 21, 1894, in clipping file, BR.

10. On the creation of social identities, see Butler, Judith P., Gender Trouble: Feminism and the Subversion of Identity (New York: Routledge, 1999), esp. 136Google Scholar. On criminals and gangsters as celebrities, see Friedman, Lawrence M., Crime and Punishment in American History (New York: Basic, 1993), 446–47Google Scholar; Ruth, David E., Inventing the Public Enemy: The Gangster in American Culture, 1918–1934 (Chicago: University of Chicago Press, 1996)Google Scholar; and Papke, David R., Framing the Criminal: Crime, Cultural Work, and the Loss of Critical Perspective, 1830–1900 (Hamden, Conn.: Archon, 1987)Google Scholar. My thinking in the social construction of the stage criminal has been influenced by Kathleen Wilson, “A View from the Pit: Theater, the Public Sphere and the Politics of Culture in Georgian Britain, 1720–1790,” Newberry Library Fellows Seminar, January 27, 1994 (paper in the author's possession); Maza, Sara, “Domestic Melodrama as Political Ideology: The Case of the Comte de Sanois,” American Historical Review 94 (1989): 1249–64CrossRefGoogle Scholar; and McWilliam, Rohan, “Melodrama and the Historians,” Radical History Review 78 (2000): 57–84CrossRefGoogle Scholar.

11. New York Times, 10 9, 1938 (vaudeville)Google Scholar; and Mooney, Michael MacDonald, Evelyn Nesbit and Stanford White: Love and Death in the Gilded Age (New York: William Morrow, 1976), 60 (Russell)Google Scholar. The word vaudeville was coined before Lederer's birth. On the origins of the term and other theatrical promoters falsely claiming credit for inventing the term, see Barth, Gunther, City People: The Rise of Modern City Culture in Nineteenth-Century America (New York: Oxford University Press, 1980), 196–200Google Scholar; and Snyder, , Voice of the City, 11–25Google Scholar.

12. Leavitt, M. B., Fifty Years in Theatrical Management (New York: Broadway, 1912), 521 (father of musical comedy)Google Scholar; New York Times, 10 9, 1938 (originator)Google Scholar; Reilly to Murray, April 22, 1888 (fashionable citizens), box 88-GHJ-88, Mayors' Papers, NYCMA (hereafter cited as MP); New York Times, 10 9, 1938Google Scholar; and Odell, , Annals, 15:334Google Scholar. Lederer managed the musical farce U and I starring comedians John T. Kelly and Gus Williams. He eventually organized and managed Hermann's Trans-Atlantiques, an early vaudeville production company. In 1879, he was working for Leavitt; by 1885, he was managing Leavitt's Adamless Eden Company and, by 1888, the Rentz-Santley Burlesque Company. For these and other details, see New York Times, 10 9, 1938Google Scholar; Sherman, Robert L., Actors and Authors with Composers and Managers Who Helped Make Them Famous (Chicago: Robert L. Sherman, 1951), 292–93Google Scholar; Leavitt, , Fifty Years, 152 (Kelly)Google Scholar, 205 (Clipper), 209 (Trans-Atlantiques), 271 (Eden), 412 (1879), 453, 503, 510; Henderson, Mary C., Theater in America: 250 Years of Plays, Players, and Productions (New York: Harry N. Abrams, 1988), 124–26Google Scholar; Bordman, Gerald, ed., The Oxford Companion to American Theatre (New York: Oxford University Press, 1984), 421–22Google Scholar; and Hartnoll, Phyllis, ed., The Oxford Companion to the Theatre (New York: Oxford University Press, 1983), 690Google Scholar. On the Casino, see Stern, Robert A. M., Mellins, Thomas, and Fishman, David, New York 1880: Architecture and Urbanism in the Gilded Age (New York: Monacelli, 1999), 674–77Google Scholar. The Bijou Opera House, 1239 Broadway, between 30th and 31st Streets, had a seating capacity of seven hundred and cost $150,000 to construct. It had one of the smallest capacities of the Broadway theaters, which usually seated over one thousand (see U.S. Department of the Interior, Census Office, Statistics of the Population of the United States at the Tenth Census: Report on the Social Statistics of Cities [Washington, D.C.: Government Printing Office, 1886], 18:567Google Scholar). Lederer and Canary released plans in 1894 to build a new theater at the northwest corner of Seventh Avenue and 42nd Street (Longacre Square) (see World, November 13, 1894). Leavitt believed Lederer assumed control of the Casino in 1895.

13. Herald clipping, October 25, 1889, vol. 66, DAS; and World, November 13, 1894. Biographical information on Lederer appears in Leavitt, , Fifty Years, 152, 205, 209, 271, 412, 453, 503, 510, 521 (father of musical comedy)Google Scholar; New York Times, 10 9, 1938 (originator)Google Scholar; Reilly to Murray, April 22, 1888 (fashionable citizens), box 88-GHJ-88, MP; and New York Times, 10 9, 1938Google Scholar.

14. Coverage of Lederer's bigamy case appears in Herald, New York Press, and other unmarked clippings, October 25 and 26, 1889, vol. 66, Press and other unmarked clippings, November 19, 20, and 21, 1889, vol. 67, and unmarked clippings, December 22, 1889, vol. 68, all in DAS; and Tribune, October 26, 1889. For details on his other marriages and related scandals, see unmarked clipping, January 31, 1890, vol. 70, and Morning Advertiser clipping, July 21, 1891, vol. 88, both in DAS; National Police Gazette, March 24, 1894; Tribune, January 6, March 4, and November 24, 25, 26, and 27, 1894; Herald, November 28, 1894; Philadelphia Evening Bulletin, November 24, 1894; New York Times, 10 9, 1938Google Scholar; and Mooney, , Evelyn Nesbit, 60–61Google Scholar.

15. The American Fistiana: Showing the Progress of Pugilism in the United States from 1816 to 1860 (New York, 1860), 26–27, 72–74 (quote)Google Scholar; and Gorn, Elliott J., The Manly Art: Bare-Knuckle Prize Fighting in America (Ithaca, N.Y.: Cornell University Press, 1986), 105–7, 168, 274Google Scholar.

16. People v. Edward Matthews, September 2, 1872, DAP; Hearing on License Application for New York Museum (210 Bowery), November 30, 1883, box 85-EF-12, MP; and unmarked clipping, August 29, 1887, vol. 39, World clipping, May 29, 1891, vol. 86, unmarked clipping, January 9, 1892, vol. 93, Herald clipping, December 4, 1891, vol. 92, and unmarked clipping, September 10, 1887 (Howe and Hummel), vol. 39, all in DAS. On Price's defense of Tom Lee, see New York Times, 04 25 and 05 17, 1883Google Scholar; and People v. Tom Lee, et al., May 1, 1883, in Supreme and Court Cases, NYCMA (hereafter cited as SCC). Price's relationship with the Chinese underworld is extensively documented in People v. Sam Lee, February 25, 1880, box 9872, location 106002, SCC; unmarked clippings, March 9 and 14, 1883, New York Morning Journal clipping, 06 2, 1883Google Scholar, and New York Recorder clipping, 11 10, 1891, vol. 91, all in DASGoogle Scholar; and New York Daily Graphic, 03 26, 1879Google Scholar. On his relationship with Lee Toy, an ally of Tom Lee, see Lexow Committee, 2:2252. For a reference to Price (and Howe and Hummel) as a leading criminal attorney, see unmarked clipping, September 10, 1887, vol. 39, DAS; and Leavitt, , Fifty Years, 697Google Scholar.

17. Tribune, June 26 and July 8, 1886; New York State Prison Commission, Investigation of the State Prisons and Report Thereon, 1876 (Albany: J. B. Lyon, 1877), 659 (Sing Sing)Google Scholar; Lexow Committee, 4:4168–70; and World, November 3, 1894.

18. Price, Ed, The Science of Self Defence: A Treatise on Sparring and Wrestling, including complete instructions in training and physical development (New York: Dick and Fitzgerald, [ca. 1867])Google Scholar, copy in the Newberry Library; American Fistiana, 26–27, 72–74 (quote); and Odell, , Annals, 13:509 (variety actor)Google Scholar and 15:240–41 (Wicklow played from May 30 to June 5, 1892). On Price's copyrighted plays, see Library of Congress Copyright Office, Dramatic Compositions, catalog nos. 46225, 22051, 40129, and 35693 (Humpty Dumpty). No known copies of the plays have been preserved. I am indebted to Alice Birney at the Library of Congress for trying to locate written copies of these plays. A copy of Price's “The Song of the Steeple” is in the Music Division, Library of Congress (call no. M1622.P). Price authored “Evangeline; or the Belle of Acadia” with J. Cheever Goodwin in Boston in 1873 and “One of the Bravest” in 1892 (see entry 3595, vol. 2, 1873, and entry 10641, vol. 6, 1892, both in Copyright Record Books, Room B14, Madison Building, Library of Congress). No extant copy of these works survive. Evidence indicates that Price associated with theater managers as early as 1874 (see Leavitt, , Fifty Years, 697Google Scholar). Price even wrote numerous musical compositions, presumably for the stage, although most have not survived.

19. World, October 21, 1894, clipping file, BR; and Isenberg, Michael T., John L. Sullivan and His America (Urbana: University of Illinois Press, 1988), 337–38Google Scholar.

20. Odell, , Annals, 15:58, 71, 142, 145, 210, 223, 251, 362, 367, 521, 603, 637, 796Google Scholar. On Sullivan, see Gorn, Manly Art, 221, 237–38; and Isenberg, , John L. Sullivan, 132, 182, 286–89, 337–41Google Scholar. For examples of programs of the Bijou Theater in Brooklyn, see box 1, folder 38, Theater Series 60, in Warshaw Collection of Business Americana, Archives Center, National Museum of American History, Smithsonian Institution, Washington, D.C. On boxers on stage continuing into the 20th century, see Nasaw, David, Going Out: The Rise and Fall of Public Amusements (New York: Basic, 1993), 27–28Google Scholar.

21. Smith, Alfred E., Up to Now: An Autobiography (New York: Garden City, 1929), 42–49Google Scholar; Brown, Henry Collins, In the Golden Nineties (Hastings-on-Hudson, N.Y.: Valentine's Manual, 1927), 107–8Google Scholar; Finan, Chris M., Alfred E. Smith: The Happy Warrior (New York: Hill and Wang, 2002), 37–38Google Scholar; Matthew, and Josephson, Hannah, Al Smith: Hero of the Cities (Boston: Houghton Mifflin, 1969), 48–53Google Scholar; and Hapgood, Norman and Moskowitz, Henry, Up From the City Streets: Alfred E. Smith (New York: Harcourt, Brace, 1927), 25–30Google Scholar.

22. World, October 21, 1894, clipping file, BR; and Nasaw, , Going Out, 34 (doubled capacity)Google Scholar.

23. Herald, November 30, 1894.

24. In the Tenderloin playbill, People's Theater, December 17, 1894, and unmarked clipping, December 17, 1894, clipping file, both in BR (quotes); New York Dramatic Mirror, 12 15, 1894 (Star)Google Scholar; Spirit of the Times, 12 15 and 22, 1894, p. 782 (People's)Google Scholar; and Capt. Anthony Allaire to Supt. William Murray (best artists), April 27, 1887, box 1366, folder 246, Hewitt Papers, MP.

25. New York Dramatic Mirror, 12 22, 1894Google Scholar; and Spirit of the Times, 12 22, 1894, p. 782Google Scholar. For a tongue-in-cheek review written in street slang ('dems and 'dose), see World, December 23, 1894.

26. Life, 12 27, 1894, 416–17Google Scholar.

27. Illustrated American, 01 5, 1895Google Scholar.

28. Illustrated American, January 5, 1895; Life, 12 27, 1894, 416–17 (Metcalfe)Google Scholar; and New York Dramatic Mirror, 12 15, 1894Google Scholar.

29. Browne, Junius Henri, The Great Metropolis: A Mirror of New York — A Complete History of Metropolitan Life and Society, with Sketches of Prominent Places, Persons and Things in the City, as They Actually Exist (Hartford, Conn.: American, 1869), 430–31Google Scholar. On 19th-century cultural conflict regarding theater, see Levine, Lawrence, Highbrow / Lowbrow: The Emergence of Cultural Hierarchy in America (Cambridge, Mass.: Harvard University Press, 1988)Google Scholar, and his “The Folklore of Industrial Society: Popular Culture and Its Audiences,” American Historical Review 97 (1992): 1369–430CrossRefGoogle Scholar; McConachie, , Melodramatic FormationsCrossRefGoogle Scholar; McCullough, Jack W., Living Pictures on the New York Stage (Ann Arbor, Mich.: UMI Research, 1983)Google Scholar; Allen, Robert C., Horrible Prettiness: Burlesque and American Culture (Chapel Hill: University of North Carolina Press, 1991)Google Scholar; Snyder, , Voice of the CityGoogle Scholar; and Barth, , City People, 192–228Google Scholar. For more on the entrepreneurial techniques of theater promoters, see Dudden, Faye E., Women in the American Theatre: Actresses and Audiences, 1790–1870 (New Haven, Conn.: Yale University Press, 1994)Google Scholar.

30. Corbin, John, “How the Other Half Laughs,” Harper's New Monthly Magazine 98 (12 1898): 30–48 (shout and whistle)Google Scholar; Spirit of the Times, December 29, 1894 (pothouse school), and January 12, 1895; and Heller, Adele, “The New Theater,” in 1915, the Cultural Moment, ed. Heller, Adele and Rudnick, Lois (New Brunswick, N.J.: Rutgers University Press, 1991), 219–23Google Scholar. On regulating the “moral” activities of popular amusement, see Gilfoyle, Timothy J., “The Moral Origins of Political Surveillance: The Preventive Society in New York City, 1867–1918,” American Quarterly 38 (1986): 637–52CrossRefGoogle Scholar; and Czitrom, Daniel, “The Politics of Performance: From Theater Licensing to Movie Censorship in Turn-of-the-Century New York,” American Quarterly 44 (1992): 525–53CrossRefGoogle Scholar. For different interpretations of Tony Pastor, see Barth, , City PeopleGoogle Scholar; and Snyder, , Voice of the CityGoogle Scholar.

31. Cincinnati Enquirer, January 23, 1895 (sensational); New York Dramatic Mirror, 12 22, 1894 (sensational melodrama)Google Scholar; and Indianapolis News, January 29, 1895 (acrobatic).

32. Life, December 27, 1894, 416–17 (Metcalfe); and Illustrated American, January 5, 1895.

33. Illustrated American, January 5, 1895.

34. World, November 11, 1894, and Journal and other clippings, January 29 and 30, 1899 (Moore), vol. 177, DAS; and Stiles, T. J., Jesse James: Last Rebel of the Civil War (New York: Vintage, 2002), 395Google Scholar.

35. For more on this point, see Ruth, , Inventing the Public EnemyGoogle Scholar.

36. For dates and theaters with these productions, see Odell, , Annals, 14:64, 163, 194, 300, 303–4, 473, 583, 621, 644, 760, 765Google Scholar; and 15:114–15, 158, 177, 247, 398, 657–58, 725, 737, 821–22. At the moment that In the Tenderloin was touring in upstate New York and Ohio, the three-act play A Green Goods Man was staged in Dayton, Ohio. A month later, the same production was performed at the Grand Theatre in Des Moines, Iowa. On February 2, 1895, it opened at the Ninth Street Theatre in Kansas City to a “big house” (see New York Dramatic Mirror, 12 29, 1894, and 02 9, 1895Google Scholar; and Spirit of the Times, January 26 and February 2, 1895.

37. Cincinnati Times-Star, January 19, 1895, p. 6; and World, November 11, 1894. The latter article mentions Appo and Gould, but erroneously names the production A Drama in the Slums.

38. See entry 27079, vol. 14, 1891; entry 39924, vol. 20, 1892; entry 60564, vol. 31, 1894; entry 48614, vol. 25, 1895; and entry 32819, vol. 17, 1897, all in Copyright Record Books, Room B14, Madison Building, Library of Congress. No extant copies of these works survive.

39. All of these works were copyrighted (see Library of Congress, Dramatic Compositions, catalog nos. 45374–79). The only one with written copies that have survived are The Tenderloin After Dark (D:30669), Tenderloin Tales (D:25983), and A Tenderloin Tragedy (D:24628), all in Manuscript Division, Library of Congress.

40. In the Tenderloin opened at the Youngstown, Ohio, Opera House on January 16, 1895, and reopened at Cincinnati's Havilin's Theater on January 20, 1895, and at English's Theater in Indianapolis, Indiana, on January 28, 1895. The Youngstown Opera House was that city's largest theater, with a capacity of 1,600 and attracted “first-class companies.” Havilin's was smaller and accommodated 1,400, giving it no more than the fifth largest capacity in the city. English's was “one of the most elegant theatres in the West,” with a seating capacity of 2,025 (see Youngstown Vindicator, January 16, 1895; Cincinnati Enquirer, January 21, 1895; Indianapolis News, January 28–31, 1895; New York Dramatic Mirror, 01 26, 1895Google Scholar; and Spirit of the Times, February 2, 1895).

41. Cincinnati Tribune, January 21, 1895; and Cincinnati Enquirer, January 21 (standing room) and 23 (sensational), 1895.

42. Syracuse Standard, quoted in Youngstown Daily Vindicator, January 16, 1895.

43. Cincinnati Enquirer, January 21 and 24, 1895 (profile); and Cincinnati Post, January 24, 1895 (profile). The Cincinnati Times-Star ran a weekly column entitled Talk of Gotham — Crisp Comment on the Uppermost Topics of the Day, which included weekly happenings in New York City (see Cincinnati Times-Star, January 19, 1895).

44. Cincinnati Tribune, January 20, 1895. For a brief preview, also see Cincinnati Post, January 19, 1895. For brief mentions of Tenderloin in Cincinnati, see New York Dramatic Mirror, 01 19 and 26, 1895Google Scholar.

45. Cincinnati Enquirer, January 27, 1895.

46. World, December 30, 1894. Evidence that these events were covered nationally, sometimes on the front pages of metropolitan newspapers can be found in Bridgeport (Conn.) Evening Post, September 29 and October 4, 1894; Cincinnati Enquirer, January 24, 1895; Cincinnati Post, January 18, 1895; Youngstown (Ohio) Weekly Telegram, January 3, 1895; Youngstown Vindicator, December 26 and 27, 1894; and Cincinnati Tribune, January 1, 1895 (front page).

47. Appo to Frank Moss, December 13, 1894, box 2, Society for the Prevention of Crime Papers, Rare Book and Manuscript Library, Columbia University, New York; New York Dramatic Mirror, 02 2, 1895Google Scholar; Cincinnati Enquirer, January 26, 1895 (Gould suit); Indianapolis News, January 26 and 28, 1895; and Spirit of the Times, February 2, 1895. Other reports of In the Tenderloin closing first appeared when it played in Cincinnati (see Spirit of the Times, February 9, 1895 [disband]; Indianapolis News, January 29, 1895 [quotes]; January 31, 1895 [closed]; and New York Dramatic Mirror, 02 9, 1895Google Scholar). Lederer's mistreatment of Appo and his fellow performers was hardly uncommon. For reports that numerous theatrical companies returned to New York and disbanded in 1894 and 1895, see Indianapolis News, February 2, 1895. A record of In the Tenderloin reopening in New York on April 1, 1895, at H. R. Jacobs' Third Avenue Theater can be found in T. Allston Brown, A History of the New York Stage: From the First Performance in 1732 to 1901 (New York: Dodd, Mead, 1903), 3:231. A revival of In the Tenderloin (or a show with the same name) was staged on February 13, 1905(?), at Miner's Eighth Avenue Theater (see file MWEZ, n.c. 461, p. 117, Erlanger Collection, Lincoln Center, New York Public Library).

48. Appo, 74–76. Appo claimed he never received $150 for three weeks of work on the road. An earlier examination of In the Tenderloin erroneously claimed Appo disappeared before the production was closed, generating theories that he was murdered or was on an “opium spree” (see Werner, M. R., It Happened in New York [New York: Cow-ard-McCann, 1957], 76Google Scholar). While Appo and the company went unpaid, Lederer and his partner Thomas Canary broke ground for a new theater at Seventh Avenue and 42nd Street on March 1, 1895. A short time later, Lederer, 's production of The Belle of New York (1897)Google Scholar became the first American musical to achieve major international success. Two years later, he became a manager/producer at the New York Theater. In 1906, Lederer joined forces with Harry H. Frazee in managing the Colonial Theatre in Chicago, allegedly because he was “frozen out of New York.” Lederer, 's The Belle of New York, after opening in 1907Google Scholar, went on to, according to Lederer, earn “more money than any other musical comedy in the world.” In Chicago, Lederer produced other successful productions of Madame Sherry (1910) and Angel Face (1919). Financial reversals forced him to move to Hollywood in the 1930s, but he returned to New York City in 1938, where he died shortly thereafter (see New York Dramatic Mirror, 02 16, 1895 [new theater]Google Scholar; New York Times, 10 9, 1938Google Scholar; Odell, , Annals, 12:468Google Scholar, 13:514, 553–54, and 15:334, 606–7; New York Morning Telegraph clippings, 03 5 and 05 16, 1899Google Scholar, both in vol. 180 [New York Theater], DAS; Leavitt, , Fifty Years, 521Google Scholar [frozen out]; Sherman, , Actors and Authors, 292–93Google Scholar; Henderson, , Theater in America, 124–26Google Scholar; Bordman, , Oxford Companion, 421–22Google Scholar; and Hartnoll, , Oxford Companion, 690Google Scholar.

49. McConachie, , Melodramatic Formations, 235Google Scholar.