Uncle Tom's Cabin

Uncle Tom's Cabin is a novel by American abolitionist author Harriet Beecher Stowe which treats slavery as a central theme. The work was first published on March 20, 1852. The novel soon became the best-selling novel of the 19th century (and the second best-selling book of the century after the Bible)http://www.enotes.com/uncle-toms/ and is credited with helping to end slavery in the United States. Despite this, the book also helped create and spread common stereotypes about African Americans, many of which endure to this day.

"Tom shows"

Given the lax copyright laws of the time, stage plays based on Uncle Tom's Cabin—"Tom shows"—began to appear while the story itself was still being serialized. These plays varied tremendously in their politics—some faithfully reflected Stowe's sentimentalized antislavery politics, while others were more moderate, or even pro-slavery. Eric Lott estimates that at least three million people saw these plays, ten times the book's first-year sales. Some of these shows were essentially minstrel shows loosely based on the novel and their grossly exaggerated caricatures of black people further perpetuated some of the stereotypes that Stowe used.

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Stowe herself never authorized dramatization of her work, because of puritanical distrust of drama (although she did eventually go to see George Aiken's version, and, according to Francis Underwood, was "delighted" by Caroline Howard's portrayal of Topsy). Asa Hutchinson of the Hutchinson Family Singers, whose antislavery politics closely matched those of Stowe tried and failed to get her permission to stage an official version; her refusal left the field clear for any number of adaptations, some launched for (various) political reasons and others as simply commercial theatrical ventures.

Related Topics:
Puritan - George Aiken - Francis Underwood - Caroline Howard - Hutchinson Family Singers

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All "Tom shows" appear to have incorporated elements of melodrama and of blackface minstrelsy. The first serious attempt at anything like a faithful stage adaptation was a one-hour play by C.W. Taylor at Purdy's National Theater (New York City); it ran for about ten performances in August–September 1852 sharing a bill with a blackface burlesque featuring T.D. Rice. Rice, famous in the 1830s for his comic and clearly racist blackface character Jim Crow, later became the most celebrated actor to play the title role of Tom; when Rice opened in H.E. Stevens play of Uncle Tom's Cabin in January 1854 at New York's Bowery Theatre, the Spirit of the Times' reviewer described him as "decidedly the best personator of negro character who has appeared in any drama."

Related Topics:
Melodrama - Blackface - Minstrelsy - New York City - T.D. Rice - Racist - Jim Crow - Spirit of the Times

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The best-known "Tom Shows" were those of George Aiken and H.J. Conway. Aiken's original Uncle Tom's Cabin focused almost entirely on Little Eva (played by child star Cordelia Howard); a sequel, The Death of Uncle Tom, or the Religion of the Lonely told Tom's own story. The two were ultimately combined in an unprecedented evening-long six-act play. According to Lott, it is generally faithful to Stowe's novel, although it plays down the black trickster characters of Sam and Andy and variously adds or expands the roles of some farcical white characters instead. It also focuses heavily on George Harris; the New York Times reported that his defiant speech received "great cheers" from an audience of Bowery b'hoys and g'hals. Even this most sympathetic of "Tom shows" clearly borrowed heavily from minstrelsy: not only were the slave roles all played by white actors in blackface, but Stephen Foster's "Old Folks at Home" was played in the scene where Tom is sold down the river. After a long and successful run beginning November 15, 1852 in Troy, New York, the play opened in New York City July 18, 1853, where its success was even greater.

Related Topics:
George Aiken - H.J. Conway - Cordelia Howard - New York Times - B'hoys and g'hals - Stephen Foster - Old Folks at Home - November 15 - Troy, New York - July 18

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Conway's production opened in Boston the same day Aiken's opened in Troy; P.T. Barnum brought it to his American Museum in New York November 7, 1853. Its politics were much more moderate. Sam and Andy become, in Lott's words, "buffoons". Criticism of slavery was placed largely in the mouth of a newly introduced Yankee character, a reporter named Penetrate Partyside. St. Clare's role was expanded, and turned into more of a pro-slavery advocate, articulating the politics of a John C. Calhoun. Legree rigs the auction that gets him ownership of Tom (as against Stowe's and Aiken's portrayal of oppression as the normal mode of slavery, not an abuse of the system by a cheater). Beyond this, Conway gave his play a happy ending, with Tom and various other slaves freed.

Related Topics:
Boston - P.T. Barnum - November 7 - Yankee - John C. Calhoun

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Among the pro-slavery "Tom shows" was Uncle Tom's Cabin as It Is: The Southern Uncle Tom, produced in 1852 at the Baltimore Museum. Lott mentions numerous "offshoots, parodies, thefts, and rebuttals" including a full-scale play by Christy's Minstrels and a parody by Conway himself called Uncle Pat's Cabin, and records that the story in its many variants "dominated northern popular culture… for several years".

Related Topics:
Baltimore - Christy's Minstrels

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According to Eric Lott, even those "Tom shows" which stayed relatively close to Stowe's novel played down the feminist aspects of the book and Stowe's criticisms of capitalism, and turned her anti-slavery politics into anti-Southern sectionalism. Francis Underwood, a contemporary, wrote that Aiken's play had also lost the "lightness and gayety" of Stowe's book. Nonetheless, Lott argues, they increased sympathy for the slaves among the Northern white working class (which had been somewhat alienated from the abolitionist movement by its perceived elitist backing).

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The influence of the "Tom shows" could also be found in a number of other plays through the 1850s: most obviously, C.W. Taylor's dramatization of Stowe's Dred, but also J.T. Trowbridge's abolitionist play Neighbor Jackwood, Dion Bouicault's The Octaroon, and a play called The Insurrection, based on John Brown's raid on Harpers Ferry.

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