Banned in Boston: A study of theatrical censorship in Boston from 1630 to 1950, William Robert Reardon.
Dissertation: Stanford University, 1953. Citation
“Boston censorship comm., April 13, 1916, drafted a new rule forbidding disrobing acts on the stage.
The rule applies particularly to feminine acrobats who enter clothed in a profusion of apparel and gradually eliminate, in view of the audience, such clothing as might hinder their actions upon the trapeze. [Descriptive Statement]” Source not given. PAIS Archive AN: 1916-7513
“Boston protects itself”
The Nation 127 (December 5, 1928): 593.
“Boston’s Drama League”
New York Times (May 16, 1911) 12.
Censorship of the Theatre in Boston.
Daniel M. Doherty. Thesis (M.S.)–Boston University, 1950. Mugar SPR MS 1950 do.
Dangerous Theatre: The Federal Theatre Project as a Forum for New Plays.
George Kazacoff. Chapter VII: The East, pp. 185-197. “Because of Boston’s tradition of censoring plays, FTP tread lightly in that city to avoid controversy–anything reflecting economic conditions, politics, or the contemporary social scene in a way that would not be ‘traditional.'” Plays discussed: Lucy Stone, 1936; Created Equal, 1938; A Moral Entertainment, 1938. Mugar PN 2270 F43 K39 2011
Interred in concrete: The censorship of Boston’s Old Howard Theatre (Massachusetts), Theresa Lang.
Dissertation: Tufts University, 2004. Abstract
“Joseph Harper and Boston’s Board Alley theatre, 1792-1793″
L. K. Ruff. Educational Theatre Journal 26:1 (March 1974) p. 45-52.
“New censorship in Boston”
New York Times (March 20, 1898): 7. (theatre posters)
“Richard Sinnott–‘City Censor’ of bluenose Boston,” obituary. Tom Long, Boston Globe, May 2, 2003.
“Every Monday when the new shows came to town, Mr. Sinnott would leave his third-floor office in Old City Hall — with the bust of Cardinal Cushing on the desk and the picture of President Kennedy on the wall — and take a leisurely stroll to the Casino or the Old Howard Theater. He would take his customary seat backstage, so he could view the new shows without being seen by the audience, while he made sure the pasties and G-strings were where they ought to be on Lily St. Cyr, Crystal Las Vegas and Angela the Upside Down Girl.”
John D. Anderson, professor, communications, Emerson College; Matthew Chapuran, managing director, Nora Theatre Company; Tom Connolly, professor, English, Suffolk University; Maureen Dezell, arts reporter, Boston Globe. “‘Banned in Boston’ is a theme this city finds hard to shake. This program includes vignettes of censored plays in Boston, beginning with the Puritan censorship of Morton’s May Pole and climaxing with the 1929 banning of Eugene O’Neill’s Freudian theatrical experiment, Strange Interlude. Afterwards, a panel discusses the performances and the ideas of censorship. Though it is not institutionalized, as it was with the ‘Watch and Ward Society’, what form does censorship take today?” WGBH Forum Network, Thursday, May 1, 2003, Old South Meeting House. 24 July2006.
“Tradition behind Bostonian censorship”
W. R. Reardon. Educational Theatre Journal 7:2 (May 1955) p. 97-101.