American burlesque
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American burlesque is a genre of
Literary and theatrical origins
The term "burlesque" more generally means a literary, dramatic or musical work intended to cause laughter by caricaturing the manner or spirit of serious works, or by ludicrous treatment of their subjects.[1] Burlesque in literature and in theatre through the 19th century was intentionally ridiculous in that it imitated several styles and combined imitations of certain authors and artists with absurd descriptions.[2] Burlesque depended on the reader's (or listener's) knowledge of the subject to make its intended effect, and a high degree of literacy was taken for granted.[3]
Victorian burlesque, sometimes known as "travesty" or "extravaganza",[4] was popular in London theatres between the 1830s and the 1890s. It took the form of musical theatre parody in which a well-known opera, play or ballet was adapted into a broad comic play, usually a musical play, often risqué in style, mocking the theatrical and musical conventions and styles of the original work, and quoting or pastiching text or music from the original work. The comedy often stemmed from the incongruity and absurdity of the classical subjects, with realistic historical dress and settings, being juxtaposed with the modern activities portrayed by the actors.[5] The dialogue was generally written in rhyming couplets, liberally peppered with bad puns.[6] A typical example from a burlesque of Macbeth: Macbeth and Banquo enter under an umbrella, and the witches greet them with "Hail! hail! hail!" Macbeth asks Banquo, "What mean these salutations, noble thane?" and is told, "These showers of 'Hail' anticipate your 'reign'".[7] A staple of theatrical burlesque was the display of attractive women in travesty roles, dressed in tights to show off their legs, but the plays themselves were seldom more than modestly risqué.[8]
History
19th century
There were three main influences on American burlesque in its early years: Victorian burlesque, "leg shows" and minstrel shows.[9] British-style burlesques had been successfully presented in New York as early as the 1840s.[10]
Burlesque in the United States is believed to have begun in New York with the arrival from England of Lydia Thompson's burlesque troupe, "The British Blondes".[11][12][13][14] It was the most popular entertainment in New York during the 1868–1869 theatrical season: "The eccentricities of pantomime and burlesque – with their curious combination of comedy, parody, satire, improvisation, song and dance, variety acts, cross-dressing, extravagant stage effects, risqué jokes and saucy costumes – while familiar enough to British audiences, took New York by storm."[15] Unfortunately, “the female audiences for burlesque did not last for long. In the summer of 1869 a wave of ‘anti-burlesque hysteria’ in the New York press frightened away the middle-class audiences ... and sent the Thompson troupe prematurely packing for a national tour”.[16] After this untimely closure, backlash against burlesque continued to grow. Thompson's shows were described as a “disgraceful spectacle of padded legs jiggling and wriggling in the insensate follies and indecencies of the hour”.[17] The New York Times consistently expressed its disgust of burlesque, even headlining an article with the plea “Exit British Burlesque”.[16]
"Leg" shows, such as the musical extravaganza The Black Crook (1866), became popular around the same time.[18] The influence of the minstrel show soon followed; one of the first American burlesque troupes was the Rentz-Santley Novelty and Burlesque Company, created in 1870 by Michael B. Leavitt, who had earlier feminized the minstrel show with his group Madame Rentz's Female Minstrels.[19] American burlesque rapidly adopted the minstrel show's tripartite structure: part one was composed of songs and dances rendered by a female company, interspersed with low comedy from male comedians. Part two featured various short specialties and olios in which the women did not appear. The show's finish was a grand finale. Sometimes the entertainment was followed by a boxing or wrestling match.[9]
By the 1880s, the four distinguishing characteristics of American burlesque had evolved:
- Minimal costuming, often focusing on the female form.
- Sexually suggestive dialogue, dance, plot lines and staging.
- Quick-witted humor laced with puns, but lacking complexity.
- Short routines or sketches with minimal plot cohesion across a show.[20]
‘From 1880 to 1890 burlesque gained considerably in popularity and had developed into a definite form of entertainment, with a first part, olio and afterpiece or burlesque. Most of the shows that were rated as burlesque shows between 1870 and 1880 were partly of the minstrel type, and many contained casts entirely composed of women. Among the shows organized from 1880 to 1890 were the Ida Siddon’s Female Mastodons & Burlesque Co.—Sam T. Jack’s “Lily Clay’s" Adamless Eden Gaiety Co.—Lillie Hall’s Burlesquers—Madame Girard Gyer’s English Novelty Co.—Bob Manchester’s “Night Owls"—May Howard’s Co. (managed by Harry Morris, her husband and Tom Miaco)—the “City Club,” organized by the same managers—Sam T. Jack’s “Creole Burlesquers,” an all-negro show—Fay Foster Co., organized by Joe Oppenheimer—Rose Hill English Folly Co., managed by George W. Rice and Charles Barton—Weber and Fields’ Vaudeville Club—John S. Grieves’ Burlesquers—Boom’s “Model Burlesquers,”—“Parisian Folly”—and John H. Smiths’ “Henry Burlesquers,” in which McIntyre and Heath appeared.’[21]
1900–1920
Burlesque in the first two decades of the 20th century was dominated by the
, all of whom eventually left burlesque for Broadway musical comedies and revues.1920–1930
Columbia's American Wheel subsidiary went bankrupt in 1922, but some of its executives and producers formed a new, independent circuit,
1930s and decline
Mutual collapsed in 1931 during the Great Depression. As legitimate Broadway shows closed, stock burlesque impresarios like the Minskys expanded out of working class neighborhoods and into theaters in and around Times Square. Stock burlesque companies multiplied in other cities and snatched up former Mutual talent. By the late 1930s, clergy, anti-vice factions and local businesses cracked down on burlesque and began its downfall. Shows had changed from ribald ensemble performances of skits and musical numbers to a succession of solo stripteasers.
Burlesque performances
Burlesque performances originally included comic sketches lampooning authority, the upper classes and high art, such as opera, Shakespearean drama, and classical ballet.[26] The genre developed alongside vaudeville and ran on competing circuits.[27] Possibly due to historical social tensions between the upper classes and lower classes of society,[28] much of the humor and entertainment of later American burlesque focused on lowbrow and ribald subjects.[27] In 1937, Epes W. Sargent wrote in Variety that, "Burlesque is elastic; more so, perhaps, than any other form in theatrical entertainment", meaning that burlesque performers didn't need to perform in a certain way.[22] The performers could structure their show how they wanted.
Burlesque on film
Burlesque shows have been depicted in numerous dramatic films, starting with Applause, a 1929 black-and-white backstage musical talkie directed by Rouben Mamoulian. Others include King of Burlesque (1936), starring Warner Baxter; Lady of Burlesque (1943) starring Barbara Stanwyck; Delightfully Dangerous (1945) starring Constance Moore; Two Sisters from Boston (1946), starring Kathryn Grayson; Queen of Burlesque (1946), starring Evelyn Ankers; Linda, Be Good (1947), starring Elyse Knox; and She's Working Her Way Through College (1952), starring Virginia Mayo. Gypsy (1962), starring Natalie Wood, and The Night They Raided Minsky's (1968), starring Jason Robards, depicted burlesque of the 1920s and 1930s. Other films that include burlesque characters include Ball of Fire, a 1941 screwball comedy starring Gary Cooper and Barbara Stanwyck. Additionally, many of the comedies of Bud Abbott and Lou Costello feature classic burlesque routines, such as "The Lemon Bit," "Crazy House," and "Slowly I Turned/Niagara Falls."
Enterprising low-budget producers transferred actual burlesque revues to film, beginning in 1946. The first was Hollywood Revels (1946), directed by future TV executive Duke Goldstone, where a standard burlesque show was staged in a theater and photographed from a distance.
Producer W. Merle Connell improved on Goldstone's template by staging the action in a movie studio, where he could control the camerawork, lighting, and sound, including close-ups and other studio photographic and editorial techniques. Connell began his burlesque series in 1947, doing business as Quality Pictures. At first Connell produced 10- and 20-minute short subjects for the home-movie market; these were printed in 16mm sound and 8mm silent versions. The format usually called for two lowbrow burlesque comedians, several showgirls, and a featured burlesque dancer. Tops in Burlesque headlined burlesque star Betty Rowland; Tomb It May Concern was a comedy sketch set in Egypt, with explorers discovering dancing girls among ancient tombs. These "for men only" attractions sold so well that Merle Connell began producing feature films for movie theaters. His 1951 production French Follies recreates a classic American burlesque presentation. In a time when some theater owners were desperate to lure audiences away from their television sets, these low-budget burlesque features were useful novelty attractions, and the format continued through the mid-1950s. Dream Follies (1954, filmed as Modern Follies) was written by the young comedian Lenny Bruce, who whimsically shared screen credit with ancient jokesmith Joe Miller!
Some figures from the 1950s indicate that burlesque films could cost upwards of $50,000 to produce, but Dan Sonney states that most only cost about $15,000 because they were shot quickly and often done in less than a day.[22]
Burlesque films,
Later, other producers entered the field, using color photography and even location work. Naughty New Orleans (1954) is an example of burlesque entertainment on film, equally showcasing girls and gags, although it shifts the venue from a burlesque-house stage to a popular nightclub. Photographer
Stage shows and revivals
A Broadway musical called Burlesque opened September 1, 1927 and ran until July 14, 1928. Top Banana, a musical with music and lyrics by Johnny Mercer and book by Hy Kraft and starring Phil Silvers premiered on Broadway in 1951. The original Broadway production of "Gypsy" opened on May 21, 1959 and closed on March 25, 1961 after 702 performances. In 1962, famed strip teaser Ann Corio put together a nostalgic off-Broadway show, This Was Burlesque, which she directed and in which also performed. (In 1968, she wrote a book with the same title.) Corio's show toured for almost two decades. In 1979, the Broadway musical Sugar Babies, recreated a Mutual-era show. A loose stage adaptation of The Night They Raided Minsky's, called Minsky's, opened on February 6, 2009, at the Ahmanson Theatre, Los Angeles, and ran three weeks. A 2013 play, The Nance, written by Douglas Carter Beane, focuses on a camp stock character in a 1930s burlesque troupe.
Neo-Burlesque
A new generation nostalgic for the spectacle and perceived glamour of the old times determined to bring burlesque back. This revival was pioneered independently in the early 1990s by Billie Madley's "Cinema" and later with Ami Goodheart in "Dutch Weismann's Follies" revues in
Neo-Burlesque has taken many forms, but all have the common trait of honoring one or more of burlesque's previous incarnations, with acts including striptease, expensive costumes, bawdy humor, cabaret, and comedy/variety acts.[48][49] Although neo-burlesque acts honor previous acts, they often lack elements of parody, and political commentary that was commonplace in traditional burlesque.[50] There are modern burlesque performers and shows all over the world, and annual conventions such as the Vancouver International Burlesque Festival, the New York Burlesque Festival created by burlesque star Angie Pontani and Jen Gapay, and the Miss Exotic World Pageant are held. In 2008, The New York Times noted that burlesque had made a comeback in the city's art performance scene.[24]
A 2010 musical film
Notable stars, writers, and agents
- Abbott and Costello
- Jack Albertson
- Robert Alda
- Morey Amsterdam
- Michael "Atters" Attree
- Candy Barr
- Irving Benson
- Milton Berle
- Immodesty Blaize
- Bella Blue
- Ben Blue
- Jac Bowie
- Fanny Brice
- Sherry Britton
- Red Buttons
- Jack Cameron
- Jack Carter
- Ann Corio
- Catherine D'lish
- Danny Dayton
- Jami Deadly
- Millie DeLeon
- Joe DeRita
- Phyllis Dixey
- Jimmy Durante
- Leon Errol
- Jade Esteban Estrada
- Joey Faye
- W. C. Fields
- Dwight Fiske
- Fanne Foxe
- Gentry de Paris
- Jackie Gleason
- John Grant
- Gilda Gray
- Jennie Lee
- Dixie Evans
- Billy Hagan
- Margie Hart
- Bob Hope
- Al Jolson
- Bambi Jones
- Danny Kaye
- Bert Lahr
- Michelle L'amour
- Pinky Lee
- Gypsy Rose Lee
- Al Lewis
- Lola the Vamp
- Jayne Mansfield
- Angelique Pettyjohn
- Minsky Malone
- Missy Malone
- April March
- Pauline Markham
- Dirty Martini
- Tim Moore
- Chesty Morgan
- Julie Atlas Muz
- Kitten Natividad
- Olsen and Johnson
- Bettie Page
- Gloria Pall
- Molly Picon
- Miss Polly Rae
- Angie Pontani
- Rags Ragland
- Sally Rand
- Alan Reed
- Liz Renay
- Benny Rubin
- Lili St. Cyr
- Satan's Angel
- Tura Satana
- Phil Silvers
- Red Skelton
- Arnold Stang
- Blaze Starr
- Tempest Storm
- Dita Von Teese
- Hinda Wausau
- Evelyn West
- Mae West
- Mollie Williams
- Henny Youngman
- Joe Yule
Notable burlesque festivals
- Helsinki Burlesque Festival, Helsinki, Finland
- Miss Exotic World, Las Vegas, U.S
- Moisture Festival, Seattle, U.S.
- New Orleans Burlesque Festival, Louisiana, U.S.
- New York Burlesque Festival, New York City, U.S.
See also
- Behind the Burly Q, a 2010 documentary about the golden age of burlesque.
- Burlesque Hall of Fame
- Minsky's
- Womanless wedding
- Beef Trust (burlesque)
Notes
- ^ "Burlesque", Oxford English Dictionary, Oxford University Press, accessed February 16, 2011 (subscription required)
- ^ Sanders 1994, p. 291.
- ^ Speaight, George. "All froth and bubble", The Times Literary Supplement, October 1, 1976, p. 1233
- Grove Dictionary of Music and Musicians, "the various genre terms were always applied freely", and by the 1860s their use had become "arbitrary and capricious": see "Burlesque,"Grove Music Online. Oxford Music Online, accessed February 3, 2011 (subscription required). In an 1896 article on Burlesque in The Theatre, the three terms are used interchangeably: see Adams, W. Davenport. "Burlesque: Old v. New", The Theatre, March 1, 1896, pp. 144–45
- ^ Adams, W. Davenport. A Book of Burlesque (London: Henry and Co., 1891), p. 44
- ^ Fredric Woodbridge Wilson: "Burlesque", Grove Music Online ed. L. Macy, accessed 4 December 4, 2008, (subscription access) Archived 2008-05-16 at the Wayback Machine
- ^ Wells, Stanley. "Shakespearian Burlesques", Shakespeare Quarterly, Vol. 16, No. 1 (Winter, 1965), pp. 49–61, Folger Shakespeare Library in association with George Washington University, accessed February 2, 2011 (subscription required)
- ^ Schwandt, Erich et al. "Burlesque", Grove Music Online. Oxford Music Online, accessed February 3, 2011 (subscription required)
- ^ a b "Burlesque show", Encyclopædia Britannica, Online Library Edition, accessed February 16, 2011 (subscription required)
- ^ Rogers, Delmer D. "Public Music Performances in New York City from 1800 to 1850", Anuario Interamericano de Investigacion Musical, Vol. 6 (1970), pp. 5–50, accessed February 2, 2011 (subscription required)
- ^ "History of Burlesque Part I". www.musicals101.com.
- ^ "Streetswing's Burlesque History Archives: Lydia Thompson". www.streetswing.com.
- ^ "Lydia Thompson, the "Father of All Drag Kings"?". August 26, 2014.
- ^ "Burlesque show". Encyclopedia Britannica.
- ^ The New York Times, 1 October 1868
- ^ a b Dudden, Faye E. "The Rise of the Leg Show", Women in the American Theatre: Actresses and Audeiences, New Haven, Yale UP (1994)
- ^ Moses, Marlie. "Lydia Thompson and The ‘British Blondes’.", Women in the American theatre, New York, Crown (1981)
- ^ Stanton & Banham1996, p. 50.
- ^ Allen 1991, p. 283.
- ^ a b Humez, Nick. "Burlesque". St. James Encyclopedia of Popular Culture, ed. Sara Pendergast and Tom Pendergast, Gale Virtual Reference Library, accessed February 16, 2011 (subscription required)
- ^ Variety July 7, 1922 Pg. 13 Col. 5. 'Where Burlesque Came From' This article incorporates text from this source, which is in the public domain.
- ^ JSTOR 1225774.
- ^ Slonimsky, Nicholas, "Burlesque show", Baker's Dictionary of Music, Schirmer Reference, New York, 1997, accessed February 16, 2010 (subscription required)
- ^ a b Caldwell, Mark. "The Almost Naked City", The New York Times, 18 May 2008, accessed September 19, 2009
- ^ Allen 1991, p. xi.
- ^ Allen 1991, pp. 102, 125, 335.
- ^ a b Allen 1991, pp. 189.
- ^ Allen 1991, p. xii.
- My Autobiography, pp. 125–26, Simon & Schuster in 1964
- ISBN 978-0-8223-2374-7. Retrieved 21 July 2023.
- ^ Zemeckis, Leslie (November 16, 2013). "A School for Strippers: The ABC's of Stripping". Burlesque Galaxy. Retrieved 21 July 2023.
19 September 2020
- ^ Sorrento, Matthew (26 March 2023). "The Lost Burlesque Auteur: The Films of Lillian Hunt". FilmInt.nu. Retrieved 21 July 2023.
- ^ "Lillian Hunt". tcmdb. tcm.com. Retrieved 21 July 2023.
- ^ Barrett, Michael (11 August 2021). "Kino Lorber's Forbidden Fruit Series: A Bevy of Brazen Gender Roles". PopMatters. Retrieved 21 July 2023.
- ^ "Novita – Too Hot to Handle 1950". youtube. Retrieved 21 July 2023.
- ^ "Lee Evans – Too Hot to Handle 1950". youtube. Retrieved 21 July 2023.
- tcm.com. Retrieved 21 July 2023.
- tcm.com. Retrieved 21 July 2023.
- tcm.com. Retrieved 21 July 2023.
- tcm.com. Retrieved 21 July 2023.
- tcm.com. Retrieved 21 July 2023.
- tcm.com. Retrieved 21 July 2023.
- ^ Striporama. Internet Movie Database, accessed February 17, 2011.
- ^ Mark Caldwell (May 18, 2008). "The Almost Naked City". The New York Times. Retrieved April 5, 2013.
- ^ Oliverie, Kristin. "Burlesque Is the Word at Atlantic City’s Revel", The Daily Meal, accessed June 18, 2012
- ^ Cascone, Sarah (2016-09-20). "Art Gallery Sues Idaho Police for Old-Fashioned Liquor Law After Burlesque Bust: Are the state's laws antiquated and unconstitutional?". ArtNet News. Retrieved 2016-09-22.
- ^ Barnhill, Frankie (2014-06-06). "How Anne McDonald Makes Art Accessible With Boise Burlesque Show". Boise State Public Radio. Retrieved 2016-09-22.
- ^ Sohn, Amy. Teasy Does It, New York Magazine Archived 2008-07-20 at the Wayback Machine, May 21, 2005, accessed February 24, 2011
- ^ Clodfelter, Tim. "This ain't your granddad's burlesque – but he sure wouldn't mind watching". Winston-Salem Journal, January 31, 2008, accessed February 24, 2011.
- S2CID 144374794.
- ^ "Burlesque (2010)". Rotten Tomatoes. Retrieved April 5, 2013.
- ^ Dargis, Manohla. "Small-Town Girl Trades Her Naïveté for Lingerie", The New York Times, November 23, 2010
References
- Abrams, M. H. (1999) A Glossary of Literary Terms. Seventh edition. Fort Worth, TX: Harcourt Brace College Publishers[ISBN missing]
- Adams, William Davenport (1904) A dictionary of the drama London: Chatto & Windus
- Allan, Kirsty L. A Guide to Classical Burlesque – Funny Ha Ha or Funny Peculiar?[ISBN missing]
- Allan, Kirsty L. and Charms, G. Diamonds From the Rough – The Darker Side of American Burlesque striptease[ISBN missing]
- Allen, Robert Clyde (1991). Horrible Prettiness: Burlesque and American Culture. Univ of North Carolina Press. ISBN 9780807843161.
- Baldwin, Michelle. Burlesque and the New Bump-n-Grind[ISBN missing]
- Briggeman, Jane (2009) Burlesque: A Living History. BearManor Media. ISBN 978-1-59393-469-9
- DiNardo, Kelly. "Gilded Lili: Lili St. Cyr and the Striptease Mystique"; Archive of articles, video, pictures and interviews about neo-burlesque.[ISBN missing]
- Kenrick, John. A History of The Musical Burlesque
- Sanders, Andrew (1994). The short Oxford history of English literature. Clarendon Press. ISBN 9780198112020.
- Stanton, Sarah; Banham, Martin (1996). The Cambridge Paperback Guide to Theatre. Cambridge University Press. ISBN 9780521446549.
- Zeidman, Irving: The American Burlesque Show. Hawthorn Books, Inc 1967, .
External links
- Ruckus! American Entertainments at the Turn of the Twentieth Century From the collection of the Beinecke Rare Book and Manuscript Library at Yale University
- Classic Burlesque: We Aim to Tease – slideshow by Life magazine
- Encyclopædia Britannica. Vol. 4 (11th ed.). 1911. p. 836. .
- History of Burlesque at Musicals101.com, The Cyber Encyclopedia of Musical Theatre, TV and Film
- "A Guide to Classical Burlesque – Funny Ha Ha or Funny Peculiar?" Archived 2017-06-20 at the Wayback Machine Allan, K., The Curious Adventures of Kittie
- The Golden Days of Burlesque Historical Society