When Vaudeville Got Tired

Long before vaudeville ended, it got tired. Some insiders warned that the medium was becoming stale. Years of profits made owners like Ed Albee think they had a magic formula for success, a formula they clung to rigidly. Some tried to point out this error: “Big Time vaudeville theaters in most cities were antiquated buildings run by local manager who never tinkered with tradition. The Big Time stars came back year after year with their same songs, dances, and jokes,” said William Morris (of the William Morris Agency). The editor of one of the more important theater magazines criticized the “blind reverence for, or slavery to, tradition that resists every effort to shake the variety show out of the old routine, the traditional way of choosing and staging acts.”

Some shows bored their audiences with a string of similar acts, such as nearly all dancing acts or nearly all comedians. And audiences were growing impatient with the censorship rules. According to A.F. Wertheim in his book, Vaudeville Wars, the Keith-Albee Circuit (the leading circuit) continued to order performer to delete objectionable jokes, such as “I’ve been studying abroad,” or “Give us this day our daily bread, yo ho ho, and a bottle of rum.” Moving pictures were newer, more exciting, more risqué, and more exciting to audiences. The vaudeville magazine, Variety, (founded in 1905) reflected this shift when it moved vaudeville news to the back pages and movie news to the front in 1925.

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Published in: on September 29, 2018 at 1:22 pm  Leave a Comment  

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