How did Ullie Akerstrom influence American theater in the late 19th century?

Reference

Ulrika "Ullie" Akerstrom (born Ulrica Regina Akerstrom;[1][2] March 17,[3] 1858[4] – August 10, 1941) was an American actress, dancer, playwright, and vaudeville performer. Akerstrom wrote several plays and sketches during her performing years, including Viola, the Street Singer (1886), Renah, the Gipsey's Daughter (1886), Annette the Dancing Girl (1889), Miss Rosa, A Pauper's Fortune (1893), Queen of the Arena (1893), A Woman's Vengeance (1895), The Story of a Crime (1895),[13] That Smith Gal, Little Busybody, The Egyptian Dancer, and The Doctor's Warm Reception (1901).[14] Akerstrom also published a book of popular verse, "Toot Yer Horn", and Other Poems (1888).[15][16] ^ a b c "New York, New York City Marriage Records, 1829-1938", , FamilySearch (https://www.familysearch.org/ark:/61903/1:1:24ZZ-JJP : Thu Nov 30 04:33:23 UTC 2023), Entry for Abner Benedict and Ulrica Akerstrom, 9 May 1898.

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Introduction. Theater and performance of the long 19th century (1789-1914) is one of the most dynamic fields in African American studies today. Scholars have turned to these embodied practices to understand the achievements, hardships, and imaginaries of black life in this period because enslaved and free African Americans were often denied ...

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Theater design and technology changed as well around the mid-19th century. Candlelit stages were replaced with gaslight and limelight. Limelight consisted of a block of lime heated to incandescence by means of an oxyhydrogen flame torch. The light could then be focused with mirrors and produced a quite powerful light.

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OpenAI's Answer

Ullie Akerstrom, an American actress, dancer, playwright, and vaudeville performer, made significant contributions to American theater in the late 19th century. She wrote several plays and sketches, including notable works such as "Viola, the Street Singer" (1886), "Renah, the Gipsey's Daughter" (1886), and "A Woman's Vengeance" (1895). Her creative output also extended to poetry, with a published collection titled "Toot Yer Horn, and Other Poems" (1888) source.

Her multifaceted involvement in theater and performance showcases her influence on American theater during that period, contributing to its artistic diversity and vibrancy.

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