Two Theaters and a Merger in New York

Author(s):  
Nancy Yunhwa Rao

This chapter documents the rise of Cantonese opera theater in New York City from the mid-nineteenth century through the 1920s. By the mid-1920s, the New York theaters became a nodal point of the performing network linking San Francisco, Los Angeles, and elsewhere, sharing many of its talented performers. In New York's Chinatown, opera was an art form that united spectacle, drama, local and visiting talents, regional musical tastes, and musical tradition into a vibrant whole. At the height of its golden age, Chinese theater had taken its place in a city with a long and prestigious tradition in the theatrical and performing arts. Two theaters were established during this period: Jock Ming On and Lok Tin Tsau. The former arrived New York City from Vancouver, while the latter via Toronto and Boston. In 1927, the two merged to form Yong Ni Shang Theater. Many performers discussed in previous chapters reappear in this chapter. In addition, the chapter discusses the relation between Peking opera star, Mei Lanfang’s US tour and Chinatown theaters. Finally, through a close analysis of the phonograph record advertisement, the chapter reflects on the connection of Cantonese opera and the community.

Author(s):  
Nancy Yunhwa Rao

By its fourth year in operation, the Mandarin boasted a Los Angeles branch, troupes in Mexicali and elsewhere, and a close relationship with the Jock Ming On Theater in New York City. This chapter focuses on the period of the Mandarin’s continued success as it expanded its reach into the community, attracted superstar performers such as the actress Li Xuefang, and staged ever more grand productions. The chapter closes with the return of Cantonese opera troupe to Vancouver to a theater named Mandarin Theater co.


Author(s):  
Nancy Yunhwa Rao

This chapter provides a survey of Cantonese opera, its connection to other genres of Chinese opera, its music, repertoire, vocal style, accompanying instruments, etc. Because the performance practice changed over time, this chapter draws from a wealth of primary and secondary documents to offer a working knowledge of Cantonese opera as it was practiced in North American during the 1920s. Over 1000 Chinese playbills from San Francisco, New York City, Vancouver, Seattle and Havana between 1917 and 1929 provide the foundation for understanding the popular repertoire during the time. In addition, commentaries in Chinese newspapers, as well as memoirs and oral histories from veteran performers reveal much about the historical performance practice. Taken together, these resources form the basis of an understanding of the Cantonese opera in this period ranging from the increased usage of stage backdrops and stage props, a gradual shift of popular role types and vocal styles, and popular novel repertoire types. A reflection on the significance of daily opera playbill closes the chapter.


Author(s):  
Jenny S. Guadamuz ◽  
G. Caleb Alexander ◽  
Shannon N. Zenk ◽  
Genevieve P. Kanter ◽  
Jocelyn R. Wilder ◽  
...  

Author(s):  
Jenny S. Guadamuz ◽  
Ramon A. Durazo-Arvizu ◽  
Martha L. Daviglus ◽  
Gregory S. Calip ◽  
Edith A. Nutescu ◽  
...  
Keyword(s):  
New York ◽  

Stroke ◽  
2021 ◽  
Vol 52 (Suppl_1) ◽  
Author(s):  
Brian D Kim ◽  
Jacob Morey ◽  
Naoum Fares Marayati ◽  
Danielle Wheelwright ◽  
Tara L Roche ◽  
...  

Introduction: On April 1 2019, New York City EMS began a triage protocol using a modified Los Angeles Motor Scale (S-LAMS for addition of speech) to identify potential endovascular thrombectomy (EVT) eligible patients in the field (S-LAMS 4-6 with last known well (LKW) <5 hours). These patients are routed to the nearest thrombectomy capable center, driving past potentially closer primary stroke centers. Methods: Patients brought by EMS to a large multicenter health system across NYC for the year following April 1, 2019 were extracted from a prospectively collected stroke database. S-LAMS triage positive (STP) patients were assessed for diagnostic accuracy and treatment times. They were compared with a cohort that underwent EVT during the same period, but triaged as S-LAMS triage negative (STN). Results: STP patients (N=145) were 56.6% women, mean age of 70, median baseline mRS of 0, S-LAMS score of 5, and arrival NIHSS of 13. Stroke was diagnosed in 110 (75.8%) patients, 32 intracerebral hemorrhage and 78 ischemic. Of the ischemic, 45 were large vessel occlusion stroke (ELVO) and 34 underwent EVT (PPV of 0.31 for ELVO). STN patients (N=65) with LKW of < 5 hours were brought by EMS and underwent EVT; 34 were brought directly to EVT capable centers, and 36 required transfer for EVT. Mean time to hospital arrival from EMS scene arrival was significantly longer for STP patients than STN patients (38 vs. 29 minutes, p<0.01). Mean ambulance travel time was significantly longer for STP patients than STN patients (10 vs. 7 minutes, p<0.01). Mean tPA administration time from EMS scene arrival was not significantly different between STP (N=41) and STN patients (N=40) (90 vs. 91 minutes, p=0.89). Mean arterial access time for EVT from EMS scene arrival was significantly shorter for STP patients than STN patients (137 vs. 200 minutes, p<0.01). Conclusions: Pre-hospital stroke triage using the streamlined S-LAMS scale is comparable with other pre-hospital scales in predictive value for ELVO. While pre-hospital evaluation and transport times are longer, they add minimal delay to the hospital arrival, do not affect tPA times, and improve times to EVT in a large, urban environment. Further analysis on effect of the triage protocol on patient outcomes is warranted.


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