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a variety show, typically including striptease.
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Demand was such that copycat burlesque companies soon cropped up, many with female managers. Mabel Saintley became America's first native-born burlesque star, leading "Mme. Rintz's Female Minstrels" from the s onwards in a stylish burlesque of all-male troupes. Burlesque left little to the imagination.
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Any stage hit could become a target for humor. The popular melodrama Trilby was spoofed in 'Twill Be. Americans began creating their own burlesques, and some proved extremely popular.
Composer Edward E. Rice teamed with actor Henry Dixey to create Adonis , the story of a statue that comes to life and is so disgusted by human folly that he finally chooses to turn back into stone. The show ran over performances in New York and toured for years, making the handsome Dixey the top matinee idol of his time.
As male managers took over the form in the s, transgressive feminine wit was gradually replaced by a masculine determination to reveal as much of the feminine form as local laws allowed. By , burlesque theatre owners formed vaudeville-style circuits of small, medium and big time theatres. Because big time burlesque companies played these theatres in regular rotations, the circuits came to be known as wheels -- the largest being the Columbia Eastern U. Unlike vaudeville performers who sought weekly bookings as individual acts, burlesquers spent an entire forty week season touring as part of one complete troupe.
For three decades, this system made burlesque a dependable source of steady work. The biggest burlesque star of the early 20th Century was dancer Millie DeLeon , an attractive brunette who tossed her garters into the audience and occasionally neglected to wear tights. Such shenanigans got her arrested on occasion, and helped to give burlesque a raunchy reputation.
Long before his "Cowardly Lion" days, Bert Lahr polished his comic skills in burlesque. Note the outlandish costume and exaggerated make-up, required attire for burlesque comics. In time, burlesque bills began and ended with "burlettas," extended skits that made fun of hit shows and popular topics. In between came a variety olio where singers, comics, jugglers, magicians and specialty acts were all part of the mix. By the time most performers reached vaudeville, they were already experienced pros.
While it was common for burlesque stars to graduate into vaudeville, vaudevillians considered it a fatal disgrace to appear in burlesque, insisting that only those who were "washed up" would stoop so low. However, many a vaudeville veteran hit the burlesque wheels during dry spells, appearing under an assumed name. Burlesque's richest legacy was its comedy. The lead comic in a burlesque show was referred to as the " top banana ," and his sidekicks were known as the second, third, etc.
The lower you were in the "bunch," the more likely you were to suffer the worst of the physical humor pies in the face, seltzer in the pants, etc. All used the same basic routines, but no two played them the same way. Misunderstood Genre Lydia Thompson, the audacious British showgirl who's troupe of blonde beauties made burlesque a sensation in America. Lydia Thompson The original program to Ixion , Broadway's first burlesque hit. Burlesque Format As male managers took over the form in the s, transgressive feminine wit was gradually replaced by a masculine determination to reveal as much of the feminine form as local laws allowed.
So what was burlesque comedy like? The show would end with grand finale in which the entire company would perform. The genre often mocked established entertainment forms such as opera, Shakespearean drama, musicals, and ballet. The costuming or lack thereof increasingly focused on forms of dress considered inappropriate for polite society.
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By the s, the burlesque had evolved some informal rules for defining itself:. During the golden age of burlesque , some burlesque theaters opened across America. Burlesque performers spent a full week season touring as part of one troupe. This system lasted for three decades, making burlesque a dependable source of work and creating major stars in the first part of the twentieth century. One such burlesque star was Millie DeLeon, whose act foreshadowed the strip shows that were to follow. A comely brunette, DeLeon would throw her garters into the audience and sometimes forgo wearing tights.
In the middle of the bill was a varied mix of singers, comics, jugglers, magicians , and specialty acts. Burlesque provided much-needed experience for amateurs, who, if they had the talent and drive, could ascend to vaudeville as polished pros. In addition, vaudeville performers, who could only be hired by the week, sometimes played the burlesque circuit for additional pay under an assumed name.
If a performer was near the bottom of the "bunch," he could expect particularly abusive on-stage treatment, with a pie in the face or a dousing with water not being uncommon. As movies came to the fore and the old burlesque circuits closed down in the s, desperate theater owners sought to offer fare that the other entertainment outlets could not. During the Great Depression, hordes of love-starved men kept the burlesque houses alive and profitable.
However, the strippers had to exercise restraint, or risk ending up in jail for corrupting public morals. Some strippers demonstrated an artistic twist, elevating them to greater stardom, including the exotic fan dancer, Sally Rand, and former vaudevillian Rose Louise Hovick, who had the stage name Gypsy Rose Lee and got laughs by pretending to be an intellectual. The end of burlesque and the birth of striptease was later dramatized in the entertaining film The Night They Raided Minsky's.
Burlesque ( American film) - Wikipedia
According to entertainment historian Robert G. Allen: "Burlesque's principal legacy as a cultural form was its establishment of patterns of gender representation that forever changed the role of the woman on the American stage and later influenced her role on the screen. The first motion-picture adaptation of an actual burlesque show was Hollywood Revels , a theatrical feature film starring exotic dancer Allene. Much of the action was filmed in medium or long shots, because the production was staged in an actual theater and the camera photographed the stage from a distance.
In , enterprising film producer W. Merle Connell reinvented the filmed burlesque show by restaging the action especially for movies, in a studio. The camerawork and lighting were better, the sound was better, and the new setup allowed for close-ups and a variety of photographic and editorial techniques. His production French Follies is a faithful depiction of a burlesque presentation, with stage curtains, singing emcee, dances by showgirls and strippers, frequent sketches with straightmen and comedians, and a finale featuring the star performer.
The highlight is the famous burlesque routine "Crazy House," popularized earlier by Abbott and Costello. Other producers entered the field, using color photography and even location work. Naughty New Orleans is an excellent 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 Irving Klaw filmed a very profitable series of burlesque features, usually featuring star cheesecake model Bettie Page and various lowbrow comedians including future TV star Joe E.
Best London Burlesque Shows
Page's most famous features are Striporama , Varietease , and Teaserama These movies, as their titles imply, were only teasing the viewer: the girls wore revealing costumes but there was never any nudity. In the late s, however, other producers made more provocative films, sometimes using a "nudist colony" format, and the relatively tame burlesque-show movie died out.
As early as burlesque was already considered a bygone form of entertainment; burlesque veteran Phil Silvers laments the passing of burlesque in the movie musical Top Banana. A new generation nostalgic for the spectacle and perceived glamour of the old times, and sensing the possibility of financial gain through the legitimatization of "adult" entertainment, determined to bring burlesque back.
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In addition, and throughout the country, many individual performers were incorporating aspects of burlesque in their acts.