Editing Uncle Tom's Cabin (section)

===Plays and Tom shows===
{{Main|Tom show}}
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| image1    =Scene from stage production of "Uncle Tom's Cabin", 1901)- group of men, two holding whips, pointing at two men and a woman on snow-covered bridge LCCN2004681922.jpg
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| caption1  = Scene in [[William A. Brady]]'s 1901 revival of the play at the [[Academy of Music (New York City)|Academy of Music]], New York City
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| caption2  = Little Eva's death scene in Brady's 1901 revival at the Academy of Music
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Even though ''Uncle Tom's Cabin'' was the best-selling novel of the 19th century, far more Americans of that time saw the story as a stage play or musical than read the book.<ref name="By storm">{{cite web |url= https://www.pbs.org/wgbh/amex/foster/peopleevents/e_cabin.html |title= People & Events: Uncle Tom's Cabin Takes the Nation by Storm |archive-url=https://web.archive.org/web/20170226113533/http://www.pbs.org/wgbh/amex/foster/peopleevents/e_cabin.html |archive-date=February 26, 2017 |work= Stephen Foster – The American Experience |publisher= PBS |access-date= April 19, 2007}}</ref> Historian [[Eric Lott]] estimated that "for every one of the three hundred thousand who bought the novel in its first year, many more eventually saw the play."{{sfn|Lott|2013|p=218}} In 1902, it was reported that a quarter million of these presentations had already been performed in the United States.{{sfn|Frick|2016|p=xiv}}

Given the lax copyright laws of the time, stage plays based on ''Uncle Tom's Cabin''—"Tom shows"—began to appear while the novel was still being serialized. Stowe refused to authorize dramatization of her work because of her distrust of drama, although she eventually saw [[George Aiken (playwright)|George L. Aiken]]'s version and, according to Francis Underwood, was "delighted" by Caroline Howard's portrayal of Topsy.{{sfn|Lott|2013|p=228}}  Aiken's stage production was the most popular play in the U.S. and Britain for 75 years.<ref name= Hollis/> Stowe's refusal to authorize a particular dramatic version left the field clear for any number of adaptations, some launched for (various) political reasons and others as simply commercial theatrical ventures.{{sfn|Griffiths|2016|p=76}}{{sfn|Buinicki|2006|p=77}}

No [[international copyright]] laws existed at the time. The book and plays were translated into several languages. Stowe received no money, which could have meant as much as "three-fourths of her just and legitimate wages".{{sfn|Reese|2007|p=143}}

All the Tom shows appear to have incorporated elements of [[melodrama]] and [[blackface]] [[minstrel show|minstrelsy]].{{sfn|Appiah|Gates|2005|p=544}} These plays varied tremendously in their politics—some faithfully reflected Stowe's sentimentalized antislavery politics, while others were more moderate, or even pro-slavery.{{sfn|Lott|2013|p=219}} Many of the productions featured demeaning racial caricatures of black people;{{sfn|Appiah|Gates|2005|p=544}} some productions also featured songs by [[Stephen Foster]], including "[[My Old Kentucky Home]]", "[[Old Folks at Home]]", and "Massa's in the Cold Ground".<ref name="By storm"/> The best-known Tom shows were those of George Aiken and H. J. Conway.{{sfn|Lott|2013|p=220}}

The many stage variants of ''Uncle Tom's Cabin'' "dominated northern popular culture... for several years" during the 19th century,{{sfn|Lott|2013|p=222}} and the plays were still being performed in the early 20th century.<ref>{{cite magazine |first= Holly L. |last= Derr |url= https://www.theatlantic.com/entertainment/archive/2013/09/the-pervading-influence-of-em-uncle-toms-cabin-em-in-pop-culture/279281/ |title= The Pervading Influence of Uncle Tom's Cabin in Pop Culture |magazine= The Atlantic |date= September 4, 2013 |access-date= March 10, 2022}}</ref>