music hall and variety

▪ entertainment

 popular entertainment that features successive acts starring singers, comedians, dancers, and actors and sometimes jugglers, acrobats, and magicians. Derived from the taproom concerts given in city taverns in England during the 18th and 19th centuries, music hall entertainment was eventually confined to a stage, with the audience seated at tables; liquor sales paid the expenses. To discourage these entertainments, a licensing act was passed in 1751. The measure, however, had the contrary effect; the smaller taverns avoided obtaining licenses by forming music clubs, and the larger taverns, reacting to the added dignity of being licensed, expanded by employing musicians and installing scenery. These eventually moved from their tavern premises into large plush and gilt palaces where elaborate scenic effects were possible. “Saloon” became the name for any place of popular entertainment; “variety” was an evening of mixed plays; and “music hall” meant a concert hall that featured a mixture of musical and comic entertainment.

      During the 19th century the demand for entertainment was intensified by the rapid growth of urban population. By the Theatre Regulations Act of 1843, drinking and smoking, although prohibited in legitimate theatres, were permitted in the music halls. Tavern owners, therefore, often annexed buildings adjoining their premises as music halls. The low comedy of the halls, designed to appeal to the working class and to men of the middle class, caricatured events familiar to the patrons—e.g., weddings, funerals, seaside holidays, large families, and wash day.

      The originator of the English music hall as such was Charles Morton, who built Morton's Canterbury Hall (1852) in London. He developed a strong musical program, presenting classics as well as popular music. Some outstanding performers were Albert Chevalier (Chevalier, Albert), Gracie Fields, Lillie Langtry (Langtry, Lillie), Harry Lauder, Dan Leno and Vesta Tilley.

      The usual show consisted of six to eight acts, possibly including a comedy skit, a juggling act, a magic act, a mime, acrobats, a dancing act, a singing act, and perhaps a one-act play.

      In the early 20th century music halls were dwarfed by large-scale variety palaces. London theatres, such as the Hippodrome, displayed aquatic dramas, and the Coliseum presented reenactments of the Derby and chariot races of ancient Rome. These were short-lived, but other ambitious plans kept variety prosperous after the real music hall had been killed by the competition of the cinema.

      Celebrities such as Sarah Bernhardt (Bernhardt, Sarah), Sir George Alexander, and Sir Herbert Beerbohm Tree put on one-act plays or the last acts of plays; musicians such as Pietro Mascagni and Sir Henry Wood gave performances with their orchestras; popular singers of the 1920s, such as Nora Bayes and Sophie Tucker (Tucker, Sophie), elicited great enthusiasm; Diaghilev's ballet, at the height of its fame, appeared in 1918 at the Coliseum on a program that included comedians and jugglers.

      The advent of the talking motion picture in the late 1920s caused variety theatres throughout Great Britain to be converted into cinemas. To keep comedians employed, a mixture of films and songs called cine-variety was introduced, and there were attempts to keep theatres open from noon to midnight with nonstop variety. The Windmill Theatre near Piccadilly Circus, London, was notable among the few survivors that remained after World War II from what had been hundreds of music halls. The American equivalent of the British music hall is vaudeville. See also vaudeville.

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