Vaudeville in the South

Ethel Waters

Ethel Waters

Kate Tuttle wrote these words for Boston.com: “The early 1920s black vaudeville scene was dominated by the Theatre Owners Booking Association, familiarly known as TOBA. TOBA acts toured the segregated South, where performers slept at local people’s homes and took their meals at the back doors of restaurants. Wherever they went, they performed for black audiences, a memory that [Ethel] Waters “would always cherish’’ for “the way they sent those enthusiastic messages of approval and adulation through their wild applause, their laughter, their screams and shouts of joy. No white audience could ever show that kind of enthusiasm.’’ The first time Waters sang for a white audience, she later wrote, she thought she was “a dead duck’’ because “no one tried to tear the house down. They merely clapped their hands.’’ Although white audiences loved her, their praise often came with predictable prejudices. One reviewer who called Waters “the most remarkable woman of her race that I have seen in the theater,’’ pointed out that she “neither moaned, groaned nor raved her ‘Georgia Blues’; she only sighed with satanic rhythm.’’ (Kate Tuttle, Boston.com, reviewing the biography Heat Wave: the Life and Career of Ethel Waters by Donald Bogle.)

To learn more about Ethel Waters, read her 1951 memoir, His Eye Is On the Sparrow.



Join us for a lively discussion!

SCRIBBLERS THREE: How does being in a writer’s group expand and sustain your work? Eileen Christelow, Karen Hesse, and Liza Ketchum, authors for young readers, have been in a critique group for more than thirty years. They will discuss how their writing changed and developed as the group evolved, and will share their most recent books:  Robins! How They Grow Up! (Christelow), My Thumb (Hesse); and The Life Fantastic (Ketchum).

Join the discussion on April 29, 2017, 4:00 pm at the. Northshire Bookstore, Manchester, Vermont.

Northshire Bookstore, Manchester, VT


Another Cultural Experience

Turkish Dance, Ella Lola
Thomas A. Edison, Inc., 1898

The film features Ella Lola, a popular performer on the vaudeville stage, performing her rendition of a “belly dance.” This type of performance was not uncommon and points to vaudeville’s roots in earlier forms of burlesque. Ms. Lola’s routine, although bordering on risqué, far from violates any accepted standards of decency. Presentations of dance, or other ‘dumb’ acts [such as animal acts and acrobats], generally opened or closed performances to give audiences time to filter in and out of the theatre.

—University of Virginia, American Studies Department, Vaudeville website



The Birth of Vaudeville

Tony Pastor

Tony Pastor, from The Billy Rose Theatre Collection, The New York Public Library for the Performing Arts

“In the early 1880’s, Tony Pastor, a former ringmaster with the circus turned theatre manager, capitalized on middle class sensibilities and spending power when he began to feature “polite” variety programs in several of his New York theatres. Hoping to draw a potential audience from female and family-based shopping traffic uptown, Pastor barred the sale of liquor in his theaters, eliminated questionable material from his shows, and offered gifts of coal and hams to attendees. Pastor’s experiment proved successful and other managers soon followed suit.”

Gifts of coal? And ham?

Read more about the beginnings of Vaudeville from the University of Virginia, American Studies department, from which this is quoted.



One of Vaudeville’s Biggest Stars

Fanny BriceA truly fascinating woman, Fania Borach, whom we know as Fanny Brice, worked hard to turn her talents into stardom. Born in 1891, she performed on the burlesque stage, vaudeville, stage, film, musical revues (nine Ziegfield Follies), and, most famously, radio. She is perhaps best known for her radio character Baby Snooks, but she honed her comedic skills as a vaudeville performer. She was a female comedian in a profession usually reserved for men. You may know her as the woman who inspired the movie Funny Girl. Read about her life on the Jewish Women’s Archive.



Culturally Diverse

“Vaudeville’s attraction was more than simply a series of entertaining sketches. It was symbolic of the cultural diversity of early twentieth century America. Vaudeville was a fusion of centuries-old cultural traditions, including the English Music Hall, minstrel shows of antebellum America, and Yiddish theater. Though certainly not free from the prejudice of the times, vaudeville was the earliest entertainment form to cross racial and class boundaries. For many, vaudeville was the first exposure to the cultures of people living right down the street.”

American Masters, “About Vaudeville,” October 8, 1999, PBS

While anti-Semitism was common during vaudeville’s heyday, many Jewish performers had starring roles in theater as well as in film and television in later years. Yiddish theater had an enormous influence on the cultural life of Jews throughout America and abroad. In this film clip, Molly Picon, the most famous actress in Yiddish theater, is seen singing “Abi Gezunt (As long as you’re healthy),” from the 1938 film, “Mamele.” Molly Picon, born Margaret Pyekoon in 1898, “performed with Michael Thomashefsky’s Yiddish repertory troupe at the Arch Street Theater (including, at age fifteen, Uncle Tom’s Cabin, with alternate performances in Yiddish and English) and in cabaret from 1912 to 1915.” [Jewish Women’s Archive] Like Teresa in The Life Fantastic, Picon started to perform at an early age. She gave her first performance on a stage at age five!

Here are several sites which give a sense of the importance of Yiddish theater to Jews throughout the world and specifically in America.

  • On the occasion of the 100th birthday of the National Yiddish Theater, Folksbiene, this video talks about the history of the theater. Note how Yiddish theater influenced composers on the broader stage, including George Gershwin and the Sherman brothers, composers of Mary Poppins.
  • Michael Tilson Thomas, the conductor, created this homage to his grandparents, early and influential actors in the Yiddish theater, The Thomashefskys.
  • These two biographies of the most famous actress and theater owner in Yiddish theater, Molly Picon, one from Masterworks Broadway and the other from the Jewish Women’s Archives


Helen Keller on stage

Helen Keller on vaudeville stage

From Helen Keller Kids Museum Online, American Foundation for the Blind, Braille Bug

Celebrities appeared on the vaudeville stage, even those who weren’t considered performers. It was a place for the community to hear famous speakers and noteworthy people of their day.

Here’s Helen (Keller) in her dressing room in a vaudeville theatre. She is sitting at a makeup table (which does not have a mirror), brushing her cheek with a giant powder puff. Behind her, hanging on the wall, are many elaborate outfits, including a silk robe, a dark evening dress, and a full-length fur coat. Helen has on a sleeveless, patterned dress that goes down to her toes and shiny high-heeled shoes.

View more photos of Helen Keller, and Anne Sullivan, at the Helen Keller Kids Museum Online on the American Federation for the Blind website. 


 

 

 


Q&A with Liza K, part 3

What propelled you to write a story based in show business?

Vaudeville has fascinated me since I was little girl. That’s when my father told me the romantic story about my great-grandparents, who eloped and ran away to join a traveling theater troupe. My great-grandmother was a singer and pianist, and her husband played the fiddle. The couple’s elopement—and their divorce later on—caused a scandal in the small town of Shreve, Ohio, where my great-grandmother grew up. Because some people considered vaudeville as “one step up from burlesque,” my grandmother was ashamed of her history. She refused to answer my questions about her parents and their stage careers.

I have always loved live theater, and once considered becoming an actor. In high school I acted in plays and I spent the summer before college studying acting at The Neighborhood Playhouse in New York City. Though I didn’t pursue a stage career, that summer taught me invaluable lessons about creating characters.

Interior of the Tabor Opera House today. For more about this theater, visit taboroperahouse.net.

Many years later, I visited the Tabor Opera House in Leadville, Colorado, a restored and spectacular vaudeville theater. As I walked down the silent aisle between rows of plush seats, I thought about my great-grandparents and their story, which had never been told. Though the characters in The Life Fantastic are invented, and though it takes place in a different time and place, my great-grandparents’ adventure in the theater inspired me to write the novel.



Maeve’s Warning

When Thunder ComesIn The Life Fantastic, Maeve warns Teresa to be careful in her friendship with Pietro, an African American vaudeville performer. She tells Teresa that black men and boys in the South “get lynched if they look at a white girl.” Maeve also shares the story about a civil disturbance in Springfield, Illinois in 1908, where a white woman lied about being raped by an African American.  Two black men were arrested, and when they escaped lynching, white residents rioted, causing massive destruction in the black community. The woman’s lie wasn’t discovered until after the riot ended and a number of people were killed. After that, Maeve’s father took part in Ku Klux Klan meetings.

Many people think that the KKK was only active in southern states, but in the novel, Teresa remembers her father talking about the Klan having meetings in Vermont. Do you know the history of the KKK? Are you aware of their continuing presence in America today?

Learn more with these recommended books:

Superman versus the Ku Klux Klan: the True Story of How the Iconic Superhero Battled the Men of Hate, written by Rick Bowers, National Geographic Society, 2012.

They Called Themselves the K.K.K.: The Birth of an American Terrorist Group, written by Susan Campbell Bartoletti, Houghton Mifflin Harcourt, 2014.

When Thunder Comes: Poems for Civil Rights Leaders, written by J. Patrick Lewis, illustrated by Jim Burke, R. Gregory Christie, Tonya Engle, John Parra, and Meilo So, Chronicle Books, 2012.

Witness, written by Karen Hesse. Scholastic, 2001.

Wreath for Emmett Till, written by Marilyn Nelson, illustrated by Philippe Lardy, Houghton Mifflin Harcourt, 2004.



Vaudeville, a Whitehall Lecture

Recorded at the Flagler Museum, this one-hour Whitehall Lecture, “Vaudeville: from Small-Time Acts to Ziegfield’s Follies,” is given by Jerry Dickey, presented February 14, 2010. (Skip the introductions and acknowledgements by beginning at 4:20.)

Dr. Jerry Dickey is the Director of the University of Florida School of Theatre + Dance. His research and teaching specializes in the history of early twentieth century theater in the United States.