The Century of Musical Comedy and Revue
by
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CONTENTS
CHAPTER I George Edwardes & George Dance.
The affinity between musical comedy and revue - Sharing birthdate & place, artistes and impresarios; an absence of story and the essential comedian - "In Town" and the pioneer pieces - George Edwardes and his style and comedy, the dude author and lyrists; musichall type songs - The "Gaiety Girl" series - George Dance and his alternative style of musical.
CHAPTER II George Grossmith, Albert de Courville & Alfred Butt
Chorus girl attraction in London, Paris and New York - Grossmith's productions at the Empire and contention with the authorities - Charlot and the Alhambra - The Great War changes audience tastes - The Byng show -; Albert de Courville's lucky American streak at the Hippodrome - Alfred Butt brings an accountant's policy to the Palace - ability is held insignificant to "star attraction";
CHAPTER III C.B.Cochran
Parisian intimate revue as the original mould - Censorship hobbles an English equivalent - Initial dependence on the goodwill of fellow thespians - C.B.Cochran and his series of cheap yet sophisticated Ambassador productions
CHAPTER IV George Grossmith & Leslie Henson, W.H.Berry & Jack Buchanan
George Grossmith takes Edwardes' place with Leslie Henson at The Winter Garden - Importation of American musicals with comedy bolted on - W.H.Berry and his love of props at the Adelphi - Pinero plays affinity with music - Jack Buchanan, he bemused spectator with his go-for-it girl Elsie Randolph
CHAPTER V Andre Charlot
Charlot takes over Cochran's place in intimate revue - flair for discovering: Jessie Matthews, Beatrice Lillie, Gertrude Lawrence, Jack Buchanan - Tallent commandeered by Cochran.
CHAPTER VI C.B.Cochran, The Hulberts & George Black
C.B.Cochran takes over the "bijoux" Pavilion providing distinction, erudition and the leading names in art, choreography, music and personality - His "young ladies" at "The Centre of the World"- his aspirations for unity and a memorable association with Noel Coward - The Jack Hulbert and Cicely Courtneidge partnership, discreet control merged with stage dominance - "Talky" films feared as rivals - George Black purveyor of flamboyance - The Crazy Gang storm the Palladium with corny jokes - Sid Field, experienced but unknown comedian stars at the Prince of Wales
CHAPTER VII Stanley Lupino,
Comedians in the old tradition - Emergence of the support comedian - and heavyweight lady - Acrobatics add energy - Stag
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About the Book
Revue and proper musical comedy have provided some of the longest runs in the West End theatre. Yet both were killed stone dead by television. And both have virtually been forgotten even by theatre historians. The reason is largely because both forms depended on comedians making spontaneous jokes so that few working scripts have survived. Also the musical numbers were simple jolly tunes with no pretentions to light opera. Altogether they were so transient they have escaped serious study. Nor for that matter have the two forms of theatre previously been considered in tandem. Yet authors, composers and stars were constantly crossing. Then revue and musical comedy have unsuspected similarity in construction, the chorus and the topical wit which played an essential part in the comedy. These two theatrical genres in parallel held sway on the West End stage for all the last century. This book covers that century in full and interesting detail.
About the Author
Harry Stone has been a magazine editor for over forty years. During this time he contributed articles on musicals to such earstwhile publications as "Plays and Players", "Dance and Dancers" and "The Sphere", "The Evening News" and "Time and Tide". He has a book "Scene with Sensation", the story of stage effects, due from this imprint shortly. He has also written books on the true mysteries solved by Sir Arthur Conan Doyle, the newspapers published by resistance movements in occupied Europe as well as about ski-ing and charity management.