23 July 1853

  National has been playing a version of "Uncle Tom."

30 July 1853

  The National is drawing crowded houses with "Uncle Tom."

6 August 1853

  The National is still running "Uncle Tom's Cabin." We do not approve of the spirit of this piece, with all its crudities and absurdities, but what little there is to act is well performed. A great many of the characters, overdrawn by the author, are over-acted. It is credulity put on the stage, and the little morality which here and there peeps out unexpectedly, tells well with the audiences.

10 September 1853

  National.—"Uncle Tom's Cabin" continues to draw the same crowd at this place that it has done for many weeks past, and if a constant succession of crowded houses for now nearly nine weeks be any evidence of the popularity of a piece, or of the good reputation of the house, then is the National on very sure ground in both respects. Eva, by Little Cordelia Howard, is performed extremely well by the dimunitive actress, and the plaudits of the audience attest how highly they appreciate her performance of that character. One might suppose that a play might be done to death, but it seems that "Uncle Tom" is now beginning to live. Go on, Purdy.

17 September 1853

  National.—The visitors to "Uncle Tom's Cabin" go in throngs as thick as ever; it has already passed through the tenth week, and the desire to see it on the part of the public is undiminished. The National surely enough is in the full tide of prosperity.

24 September 1853

  National.—We have nothing new to record at this theatre, except the announcement of the tenth week of "Uncle Tom's Cabin." Purdy is decidedly successful, and promises to make as much out of the drama as the authoress did of her book. Eva (Cordelia Howard) seems to be one of the chief attractions of the piece.

1 October 1853

  National.—The Faithful Slave continues to be represented to a nightly overflow of people. This, we believe, is the eleventh week; by the time that public desire is satisfied in seeing this piece, Little Eva will grow up to be an old woman and Uncle Tom will, perhaps, see his second childhood. However, as it is by no means a certainty that the management will continue it so long, every body had better secure the present opportunity.

8 October 1853

  National.—Nothing new to record at this place. The never-tiring drama of "Uncle Tom's Cabin" still continues in the ascendant, and has already seen its seventieth night of representation. The piece has undoubtedly some merit, independent of the popularity of the book on which the drama is founded, and the acting of Little Cordelia Howard in the character of Eva is quite commendable for the infantile actress, and has a host of admirers.

15 October 1853

  National.—"Uncle Tom's Cabin," and the only thing new, is, that it is now in the eightieth night of its age, and stands a chance of living a while longer.

29 October 1853

  National.—"Uncle Tom's Cabin" continues to be so successful that no other play is yet thought of. The manager has been obliged to give an afternoon performance on Wednesdays and Saturdays.

3 December 1853

  National.—Uncle Tom is not dead yet, but continues full of life and activity at this theatre.

17 December 1853

  National.—In addition to the never-tiring "Uncle Tom," is offered a new attraction of "Little Katy, or the Hot Corn Girl," a drama illustrative of the poverty of city life.

14 January 1854

  National Theatre.—There is no use in making a fuss about it, but "Uncle Tom's Cabin" is the National theatre. People will go there is large numbers and cab-in has considerably increased in consequence. An undertaker, as Tom Hood has it, delights in easterly winds, and regards with glowing eyes the ricketty old gig in front of Mrs. Brown's door, because those breezes bear colds and death and the gig promises early employment. A cabman has a different interest—placards announcing grand concerts, soirees, and balls, are as attractive to him as a red nose at a tavern, and if he does not feel a part and parcel of the pastimes of this City, he does not do the fair thing to himself. And so we say "all of us." Uncle Tom at his Cabin will continue to receive his friends and admirers for some time, and entreats them not to omit calling because the first day of the "Glad New Year" has rolled up its apron.

21 January 1854

  At the National Theatre, "Uncle Tom's Cabin" and "Little Katy, or the Hot-Corn Girl," continue to delight its patrons, and we cannot perceive that its rival at the Bowery diminishes their number. The various characters are admirably enacted, and hosts of people have, with "moist eyes and refined feelings," admitted this fact. Whatever may be the prejudices, political or otherwise, for or against the "colored bredern" of this country, the feelings provoked by the representation of "Uncle Tom's Cabin" do us credit. It has demonstrated that our benevolence and humanity are wholly irrespective and independent of any sectional sentiment or predeliction, and will be exhibited and exercised whenever excited, be the subject good or bad.

28 January 1854

  National Theatre.—"Uncle Tom's Cabin" and "Little Katy, or the Hot Corn Girl," are still the principal offerings at this place of amusement. The popularity of these drawers and their attractiveness does not appear to have diminished in the least degree. "Uncle Tom" has unquestionably seized upon the affections of the people, and retains them in all their intensity.

25 February 1854

  At the Bowery and the National theatres "Uncle Tom's Cabin" continues in unabating attractiveness and prosperity. There are in the scenes of this play, as produced at both theatres, many incidents that excite the public taste, feeling and admiration. With the discussions in the Senate on the subject of slavery in Nebraska—the predominance of Ethiopian Minstrelsy in this City, and the success of "Uncle Tom's Cabin," it is not dangerous to assert that the "dark eyed ones" are kept constantly before the people, and thus their sufferings, pleasures and eccentricities, find sympathy, advocacy and representation.

11 March 1854

  "Uncle Tom's Cabin" holds out yet at the Bowery and National theatres. The slavery agitation has been augmented by the passage of the Nebraska-Kansas bill, and a little zest is given to the votaries of negro freedom by an attendance at the Bowery or National. The performance of this drama has made converts to the abolition doctrine many persons, we have no doubt, who have never examined the subject, and know nothing of its merits. Well represented sufferings and wrongs, whether fabulous or not, creates sympathy, and that sentiment grows into advocacy. We have nothing to do here with the matter, politically, but we can perceive what the drama may do to foster or eradicate passions and prejudices of high or low degree.

1 April 1854

  At the The National "Uncle Tom's Cabin" is still open, and Topsy is as funny as ever. The lawyer who figures in this piece is one of the numerous libels upon the profession which authors delight to portray . . .

8 April 1854

  National Theatre.— "Uncle Tom's Cabin" has not yet been closed, and the number of visitors has diminished but few. It is feared now, by some fun-loving people, who like to "drop in" at this theatre—but not all like Paul Pry—that "Uncle Tom" will hold possession of it for all time to come. It is not improbable that another duel, by preliminaries, in Washington, growing out of personal debates upon Nebraska and slavery, will give "Uncle Tom" a foundation which all the masons in the world cannot dislodge, and, consequently, exclude everything else from the National. This country is growing, and, if we don't stop soon, will want more than one Executive to look over our lives, our lands, and sacred honors.

15 April 1854

  National Theatre.— "Uncle Tom's Cabin" continues to be the source of attraction and pleasure at this establishment. Mrs. G. C. Howard, in her excellent performance of Topsy, delights crowds of people "all the time," and reminds us of a friend of ours, who, when asked "What time shall we have dinner?" distinguished himself and gratified numerous guests by the answer, "All the time!" Little Eva is also among the interesting features of this play, and the performance of that part by little Cordelia Howard has made the character and the performer subjects of much interest. "Uncle Tom's Cabin" has elements of perpetuity, or something closely approaching them. We have no knowledge of any drama or spectacle which has had such a run. Thank God! we are not obliged to run after it or keep up to it—what a chase!

22 April 1854

  Purdy's National Theatre.— The "Child of Prayer, or Thirst for Gold," has been produced at this theatre. It is a moral drama, produced only at this place, in which little Cordelia Howard sustains a character with success and ability. "Uncle Tom's Cabin" has not been withdrawn, but alternates with the drama first named. The visitors of the National are entirely satisfied with the performances, and no person feels disposed to take any exception to them.

29 April 1854

  National Theatre.— "Uncle Tom's Cabin" rules the destinies of manager and actor at this establishment, where it has been represented to large audiences for three hundred nights and upwards. The attraction it possesses has diminished but little, and yet the "cry is still they come!"

6 May 1854

  National Theatre.— "Uncle Tom's Cabin," of course. If a manager can fill his house for twenty-five years by the repetition of the same piece, he would be very foolish to substitute anything in its place. "Uncle Tom's Cabin" has, we doubt not, had more visitors per day, than any castle not on the Rhine in the world.

20 May 1854

  National Theatre.— "Uncle Tom's Cabin" has been removed. We thought there would be some trouble in keeping it during the month of May, when all things are on the go from one place to another. "The Blacksmith of Antwerp," "A Sea of Ice and Steps of Crime," have taken the place of the Cabin, and the patrons of Mr. Purdy are quite as happy at the change as he is for the change it brings. And so we go.

27 May 1854

  National Theatre.— Cony, Taylor, and Master Cony, with their wonderful dogs, have returned to their old stamping ground, and we are glad to perceive that with the old prices and legitimate pieces restored, this establishment is doing as well as it ever did in the days of "Uncle Tom," and the moral drama dodge.