Shenandoah : A Military Comedy Representative Plays by American Dramatists: 1856-1911

audiobook

Shenandoah : A Military Comedy Representative Plays by American Dramatists: 1856-1911

by Bronson Howard

EN·~3 hours·15 chapters

Chapters

15 total
1

BRONSON HOWARD

19:11
2

BRONSON HOWARD

13:48
3

FIRST TIME ON ANY STAGE OF THIS NEW MILITARY COMEDY - =SHENANDOAH!=

0:27
4

WITH ENTIRELY NEW SCENERY BY LA MOSS, AND THE FOLLOWING CAST: - PEACE

0:30
5

WAR

1:08
6

ACT FIRST

0:28
7

ACT SECOND

1:08
8

ACT FIFTH

1:28
9

ORIGINAL CAST OF CHARACTERS

1:02
10

COSTUMES

2:22

Description

In Shenandoah the stage becomes a bustling military camp where soldiers, officers, and civilians clash in a lively tangle of misunderstandings and bravado. Howard’s quick‑moving dialogue captures the absurdities of army life while preserving the tender moments that surface around campfires. Each scene feels like a well‑timed skirmish, with jokes landing as precisely as a well‑aimed volley, keeping the comedy both fast‑paced and warmly human.

The playwright also turns the farce inward, offering witty asides about drama’s relationship to literature, music, and even mathematics. His proud, unapologetic American voice runs through characters—from a veteran who once guarded the Canadian border to a young officer dreaming of glory—highlighting a distinctly national humor. Listeners will appreciate the clever wordplay, the measured structure of the acts, and the charming portrait of an era where honor and hilarity march side by side.

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Details

Full title

Shenandoah : A Military Comedy Representative Plays by American Dramatists: 1856-1911 Representative Plays by American Dramatists: 1856-1911

Language

en

Duration

~3 hours (175K characters)

Publisher of text edition

Project Gutenberg

Release date

2004-07-28

Rights

Public domain in the USA.

About the author

Bronson Howard

Bronson Howard

1842–1908

A leading American dramatist of the late 19th century, he helped shape a homegrown theater that spoke more directly to U.S. audiences. His plays mixed comedy, social observation, and popular appeal at a time when American drama was finding its own voice.

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