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By M. Schweitzer

Transatlantic Broadway lines the infrastructural networks and technological advances that supported the globalization of renowned leisure within the pre-World conflict I interval, with a particular specialise in the construction and function of Broadway as actual house, dream manufacturing facility, and excellent computing device.

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Additional info for Transatlantic Broadway: The Infrastructural Politics of Global Performance

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75 Despite this victory, however, Fiske ultimately failed to topple the Syndicate. 76 A decade later, the Syndicate’s rivals resumed their efforts to break the trust, launching a criminal court case. On 31 January 1907, the New York State grand jury indicted all six members of the Theatrical Syndicate on charges of criminal conspiracy and restraint of trade. 79 In April 1907, fewer than three months after the grand jury indictment, they announced the formation of the United States Amusement Company (USAC), a joint venture with their arch-rivals, the Shuberts.

Third, and perhaps most significantly, Transatlantic Broadway departs from previous transnational histories by acknowledging the interrelationship between human and non-human actors. Although cultural Introduction 11 historians have produced important studies of the transnational circulation of commodities, these works often maintain a humanist perspective, focusing on the human actors responsible for moving commodities along global trade routes. 34 Yet the GCC approach is problematic in its linearity (production— distribution—consumption), which fails to account for the many other exchanges, relationships, and shifts that occur as a commodity moves from one site or individual to another.

111 By early December, a reported 75,000 foreign laborers had returned to Europe because they were unable to find work. 112 The financial panic hit Broadway hard. 115 Anxieties about economic depression further impinged upon managerial decisions. 116 In an interview given days before the Panic, Broadway manager William A. Brady predicted that the current financial depression would have a debilitating effect on theatrical production throughout the country, especially on the road. “It will be felt first on the road and later in New York,” he warned.

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