Endnotes

1 . Sarah Annie Frost, Amateur Theatricals and Fairy-Tale Dramas, (New York: Dick & Fitzgerald, Publishers, 1868), 3.

2 . While some (mostly male) critics still protested about the respectability of the parlour play, popular opinion, especially by the late decades of the nineteenth century, overwhelmingly supported the parlour play as a legitimate and safe form of entertainment fully in line with the rules of propriety. At a time during which the appearance of women on public stage was still viewed with suspicion, the private theatrical became an accepted and entrenched component of popular culture.

3 . Sally Ledger, “Ibsen, the New Woman and the Actress.” From The New Woman in Fiction and in Fact. Ed. Angelique Richardson and Chris Willis, (New York: Palgrave, 2002), 79.

4 . Katherine Newey, Women’s Theatre Writing in Victorian Britain, (New York: Palgrave Macmillan, 2005), 127.

5 . Elin Diamond, “Realism’s Hysteria,” Unmaking Mimesis, (New York: Routledge, 1997), 7.

6 . Susan Torrey Barstow, “‘Hedda is All of Us’: Late Victorian Women at the Matinee.” Victorian Studies 43.3 (2001), 387-411..

7 . Henrik Ibsen, A Doll’s House in Four Major Plays, Ed. James MacFarlane, (Oxford: Oxford University Press, 1998), 9.

8 . Sarah Annie Frost, “A Young Amazon,” In Amateur Theatricals and Fairy-Tale Dramas: a collection of original plays, expressly designed for drawing room performance. (New York: Dick and Fitgerald, Publishers, 1868), 38-54. Hereafter, the work is cited parenthetically in the text.

9 . Carleton Britton Case, Friday afternoon dramas [Fun for Friday afternoons]: help over the hard places of the usual Friday afternoon rhetoricals: dramatic dialogues of known excellence, adapted to presentation by school boys and girls. (Chicago: Shrewesbury Publishing Co., 1917), 63.

10 . Ibid., 64.

11 . Ibid., 66.

12 . See Branislaw Jakovljevic’s “Shattered Back Wall: Performative Utterance of A Doll’s House” for a thorough treatment of Marx’s translations of Ibsen.

13 . Bernard Dukore, “Karl Marx’s Youngest Daughter and “A Doll’s House.” Theatre Journal 42.3 (Oct. 1990), 309.

14 . Ibid., 109.

15 . Newey, 131.

16 . Cited in Ledger, 80, and Newey, 131, and Branislaw Jakovljevic, “Shattered Back Wall: Performative Utterance of A Doll’s House.” Theatre Journal 54 (2002), 447.

17 . Newey, 132, quote is from ’Drury-Lane Theatre,’ The Times, 7 October 1834, 2.

18 . Jakovljevic, 448.

19 . Diamond, 7.

20 . Ibid., 6.

21 . Una Chaudhuri, Staging Place: The Geography of Modern Drama, (Ann Arbor: University of Michigan Press, 1997), 8.

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