Music hall 232692 225205316 2008-07-12T13:20:48Z Kbthompson 1621071 /* Famous Music hall songs */ style, homage, but poss not appropriate for this list [[Image:Oldbedford.jpg|thumb|right|300px|''The Old Bedford Music Hall''&nbsp; by [[Walter Sickert]], c.1885]] {{otheruses4|the British form of theatre and the venues associated with it|the unrelated venue in Cincinnati, Ohio, USA|Music Hall (Cincinnati)}} '''Music hall''' is a form of British theatrical [[entertainment]] which was popular between 1850 and 1960. The term can refer to # A particular form of [[variety show|variety]] entertainment involving a mixture of popular song, comedy and [[#Speciality Acts|speciality acts]]. British music hall was similar to American [[vaudeville]], featuring rousing songs and comic acts, while in the United Kingdom the term ''vaudeville'' referred to more lowbrow entertainment that would have been termed ''[[burlesque]]''. # The theatre or other venue in which such entertainment takes place; # The type of popular music normally associated with such performances. == Origins and Development == [[Image:1830 Eagle Tavern.jpg|thumb|right|250px|The Eagle Tavern in 1830]] Music hall in [[London]] had its origins in entertainment provided in the new style saloon bars of [[public house]]s in the 1830s. These venues replaced earlier semi-rural amusements provided at traditional fairs and suburban pleasure gardens such as [[Vauxhall Gardens]] and the [[Cremorne Gardens]]. These latter became squeezed out by urban development and lost their former popularity.<ref name=Howard>Diana Howard ''London Theatres and Music Halls 1850-1950'' (1970) </ref> The saloon was a room where for an admission fee or a higher price at the bar, singing, dancing, drama or comedy was performed. The most famous London saloon of the early days was the Grecian Saloon, established in 1825, at The Eagle (a former tea-garden), 2 Shepherdess Walk, off the [[City Road]] in north London.<ref>[http://www.victorianlondon.org/publications3/nightside-25.htm ''The Night Side of London: The Eagle Tavern'' J. Ewing Ritchie (1858)] accessed 1 November 2007</ref> According to [[John Hollingshead]], proprietor of the [[Gaiety Theatre, London]] (originally the Strand Music Hall), this establishment was "the father and mother, the dry and wet nurse of the Music Hall". Later known as the Grecian Theatre, it was here that [[Marie Lloyd]] made her début at the age of 14 in 1884. It is still famous because of an English nursery rhyme, with the somewhat mysterious lyrics:<blockquote>Up and down the City Road<br/>In and out The Eagle<br/>That's the way the money goes<br/>[[Pop goes the weasel]].<ref>[http://www.worldwidewords.org/qa/qa-pop1.htm ''Pop Goes the Weasel'' World Wide Words] accessed 1 November 2007</ref></blockquote> Another famous "song and supper" room of this period was [[Evans Music-and-Supper Rooms]], 43 King Street, [[Covent Garden]], established in the 1840s by W.H. Evans. This venue was also known as 'Evans Late Joys' - Joy being the name of the previous owner. Other song and supper rooms included the Coal Hole in [[Strand, London|The Strand]], the Cyder Cellars in Maiden Lane, Covent Garden and the Mogul Saloon in [[Drury Lane]]<ref name=Howard/>. The music hall as we know it developed from such establishments in the 1850s and were built up in and on the grounds of public houses. Such establishments were distinguished from theatres by the fact that in a music hall you would be seated at a table in the auditorium and could drink alcohol and smoke tobacco whilst watching the show. In a theatre, by contrast, the audience was seated in stalls and there was a separate bar-room. A strange exception to this rule was the [[Britannia Theatre]], [[Hoxton]] (1841) which somehow managed to evade this regulation and served drinks to its customers. Though a theatre rather than a music hall, this famous establishment later hosted music hall variety acts.<ref name=making>[http://www.craxford-family.co.uk/crauart1.php The Making of the Britannia Theatre - Alan D. Craxford and Reg Moore] accessed 1 November 2007</ref> ===The first music halls=== [[Image:1856 CanterburyHall.jpg|thumb|right|250px|Interior of the [[Canterbury Music Hall|Canterbury Hall]], opened 1852 in [[Lambeth]]]]The establishment often regarded as the first true music hall was the [[Canterbury Music Hall|the Canterbury]], 143 [[Westminster Bridge Road]], [[Lambeth]] built by [[Charles Morton (impresario)|Charles Morton]], afterwards dubbed "the Father of the Halls", on the site of a skittle alley next to his pub, the Canterbury Tavern. It opened on [[17 May]] [[1852]]: described as "the most significant date in all the history of music hall".<ref>[[Benny Green]] (ed) (1986) ''The Last Empires: A Music Hall Companion'' pp. 7 (Pavilion, 1986) ISBN 1-85145-061-0</ref> The 1852 hall looked like most contemporary pub concert rooms, but its replacement in 1854 was of then unprecedented size. It was further extended in 1859, later rebuilt as a variety theatre and finally destroyed by bombing in 1942.<ref>[http://www.arthurlloyd.co.uk/canterbury.htm ''Canterbury Music Hall'' (Arthur Lloyd)] accessed 23 October 2007</ref> Another early music hall was The Middlesex, [[Drury Lane]] (1851). Popularly known as the 'Old Mo', it was built up on the site of the Mogul Saloon. Later converted into a theatre it was demolished in 1965. The [[New London Theatre]] stands on its site.<ref>[http://www.andreas-praefcke.de/carthalia/uk/uk_london_newlondon.htm New London Theatre] accessed [[31 May]] [[2007]]</ref> The [[East End]] saw the building of several large music halls. These included the London Music Hall aka The Shoreditch Empire, 95-99 [[Shoreditch]] High Street, (1856-1935). This theatre was rebuilt in 1894 by Frank Matcham, the architect of the Hackney Empire.<ref>[http://www.arthurlloyd.co.uk/Shoreditch.htm ''Shoreditch Empire'' (Arthur Lloyd)] accessed 23 October 2007</ref>Another in this area was the Royal Cambridge Music Hall, 136 [[Commercial Street]] (1864-1936). Designed by William Finch Hill (the designer of the Britannia theatre in nearby Hoxton), it was rebuilt after a fire in 1898.<ref>[http://www.arthurlloyd.co.uk/Shoreditch.htm ''Royal Cambridge Music Hall'' (Arthur Lloyd)] accessed 23 October 2007</ref> The construction of [[Weston's Music Hall]], [[High Holborn]] (1857), built up on the site of the Six Cans and Punch Bowl Tavern by the licensed victualler of the premises, Henry Weston, signalled that the [[West End]] was fruitful territory for the music hall. In 1906 it was rebuilt as a variety theatre and renamed as the [[Holborn Empire]]. It was closed as a result of enemy action in [[the Blitz]] on the night of 11-[[12 May]] [[1941]] and the building was pulled down in 1960.<ref name=BL>[http://www.collectbritain.co.uk/personalisation/object.cfm?uid=014EVA000000000U00715000 ''British Library on Weston's''] accessed 31 Mar 2007</ref>Significant West End music halls include: *The Oxford, 14/16 [[Oxford Street]] (1861) - built up on the site of an old coaching inn called the Boar and Castle by Charles Morton, the pioneer music hall developer of The Canterbury, who with this development brought music hall to the [[West End of London|West End]]. Demolished in 1926.<ref>[http://www.arthurlloyd.co.uk/TheOxfordMusicHall.htm ''Oxford Music Hall'' (Arthur Lloyd)] accessed 23 October 2007</ref> *The [[London Pavilion]] (1861). Facade of 1885 rebuild still extant.<ref>[http://www.british-history.ac.uk/report.aspx?compid=41455 ''Shaftesbury Avenue'', Survey of London: volumes 31 and 32: St James Westminster, Part 2 (1963), pp. 68-84] accessed: [[24 October]] [[2007]].</ref> *[[Alhambra Theatre|The Alhambra, Leicester Square]] (1860), in the former premises of the London Panopticon. This sophisticated venue was noted for its alluring corps de ballet and was a focal point for West End pleasure seekers. It was demolished in 1936.<ref>[http://www.arthurlloyd.co.uk/Alhambra.htm ''Alhambra Theatre'' (Arthur Lloyd)] accessed 23 October 2007</ref> Other large suburban music halls included: * The Old Bedford, 123-133 High Street, [[Camden Town]] (1861). Built on the site of the tea gardens of a pub called the Bedford Arms. The Bedford was a favourite haunt of the artists known as the [[Camden Town Group]] headed by [[Walter Sickert]] who featured interior scenes of music halls in his paintings, including one entitled 'Little Dot Hetherington at The Old Bedford'. The Old Bedford was demolished in 1969.<ref>[http://www.arthurlloyd.co.uk/Bedford.htm ''The Bedford Music Hall'' (Arthur Lloyd)] accessed 23 October 2007</ref> [[Image:1875 Oxford Music Hall.jpg|thumb|200px|right|The Oxford Music Hall, ca. 1875]] *Collins', [[Islington Green]] (1862). Opened by Sam Collins, in 1862, as the Lansdowne Music Hall, converting the pre-existing Lansdowne Arms public house, it was renamed as Collins' Music Hall in 1863. It was colloquially known as 'The Chapel on the Green'. Collins was a star of his own theatre, singing mostly Irish songs specially composed for him. It closed in 1956, after a fire, but the street front of the building still survives (see below).<ref>[http://www.arthurlloyd.co.uk/Collins.htm ''Collins Music Hall'' (Arthur Lloyd)] accessed 23 October 2007</ref> *Deacons in [[Clerkenwell]] (1862). A noted music hall entrepreneur of this time was [[Carlo Gatti]] who built a music hall, known as Gatti's, at [[Hungerford Market]] in 1857. He sold the music hall to [[South Eastern Railway (UK)|South Eastern Railway]] in 1862, and the site became [[Charing Cross railway station]]. With the proceeds from selling his first music hall, Gatti acquired a restaurant in [[Westminster Bridge Road]], opposite The Canterbury music hall. He converted the restaurant into a second Gatti's music hall, known as "Gatti's-in-the-Road", in 1865. It later became a cinema. The building was badly damaged in the [[World War II|Second World War]], and was demolished in 1950. In 1867, he acquired a [[public house]] in [[Villiers Street]] named "The Arches", under the arches of the elevated railway line leading to Charing Cross station. He opened it as another music hall, known as "[[Charing Cross Music Hall|Gatti's-in-The-Arches]]". After his death his family continued to operate the music hall, known for a period as the Hungerford or Gatti's Hungerford Palace of Varieties. It became a cinema in 1910, and the [[Players' Theatre]] in 1946.<ref>[http://www.arthurlloyd.co.uk/Gattis.htm ''Gatti's In the Road, and Under the Arches, Music Halls'' (Arthur Lloyd)] accessed 23 October 2007</ref> By 1865 there were thirty-two music halls in London seating between 500 to 5000 people plus an unknown, but large, number of smaller venues. In 1878 numbers peaked, with seventy-eight large music halls in the metropolis and 300 smaller venues. Thereafter numbers declined due to stricter licensing restrictions imposed by the [[Metropolitan Board of Works]] and [[LCC]], and because of commercial competition between popular large suburban halls and the smaller venues, which put the latter out of business.<ref>Jerry White (2007) ''London in the Nineteenth Century'': 280</ref> ===Variety theatre=== A new era of '[[variety theatre]]' was signalled by the rebuilding of the London Pavilion in 1885. Contemporary accounts noted : {{cquotetxt|Hitherto the halls had borne unmistakeable evidence of their origins, but the last vestiges of their old connections were now thrown aside, and they emerged in all the splendour of their new-born glory. The highest efforts of the architect, the designer and the decorator were enlisted in their service, and the gaudy and tawdry music hall of the past gave way to the resplendent 'theatre of varieties' of the present day, with its classic exterior of marble and freestone, its lavishly appointed auditorium and its elegant and luxurious foyers and promenades brilliantly illuminated by myriad electric lights|Charles Stuart and A.J. Park ''The Variety Stage'' (1895)}} One of the most iconic of these new palaces of pleasure in the West End was the [[Empire, Leicester Square]], built as a theatre in 1884 but acquiring a music hall licence in 1887. Like the nearby Alhambra this theatre appealed to the man about town by featuring alluring ballet dancers and had a notorious promenade which was the resort of courtesans. Another spectacular example of the new variety theatre was the Tivoli in the [[Strand, London|Strand]] built 1888-90 in an eclectic neo-Romanesque style with Baroque and Moorish-Indian embellishments. [[The Tivoli]] became a brand name for music-halls all over the British Empire.<ref>Benny Green (1986) ''The Last Empires: A Music Hall Companion'': 42-3</ref>In 1892 an unsuccessful opera house in [[Shaftesbury Avenue]] applied for a music hall license and was converted into the [[Palace Theatre, London|Palace Theatre of Varieties]]. Denied by the newly created [[LCC]] permission to construct the promenade, which was such a popular feature of the Empire and Alhambra, the Palace compensated in the way of adult entertainment by featuring apparently nude women in [[tableau vivants]], though the concerned LCC hastened to reassure patrons that the girls who featured in these displays were actually wearing flesh toned body stockings and were not naked at all.<ref>Gavin Weightman (1992) ''Bright Lights, Big City'': 94-5</ref>One of the grandest of these new halls was the [[Coliseum Theatre]] built by [[Oswald Stoll]] in 1904 at the bottom of [[St Martin's Lane]].<ref>[http://www.arthurlloyd.co.uk/LondonColiseum.htm ''London Coliseum (Arthur Lloyd)] accessed 24 October 2007</ref> This was followed by the [[London Palladium]] (1910) in Little Argyll Street. Both were designed by the prolific [[Frank Matcham]].<ref>[http://www.arthurlloyd.co.uk/LondonPalladium.htm ''London Palladium (Arthur Lloyd)] accessed 24 October 2007</ref> As Music Hall grew in popularity and respectability, and as the licensing authorities exercised ever firmer regulation,<ref>Principally, entertainment was governed by the [[Theatres Act 1843]], but this also gave more powers to local magistrates to impose conditions.</ref> the original arrangement of a large hall with tables at which drink was served, changed to that of a drink-free [[auditorium]]. The acceptance of Music Hall as a legitimate cultural form was sealed by the first [[Royal Variety Performance]] before King [[George V of the United Kingdom|George V]] in 1912 at the Palace Theatre. However, in keeping with this new respectability the greatest music hall star of the day, [[Marie Lloyd]], was not invited, being deemed too 'saucy' for the eyes and ears of monarchy.<ref>[http://www.peopleplayuk.org.uk/guided_tours/music_hall_tour/the_story_of_the_music_halls/royal.php ''The Royal Variety Performance'' (London Theatre Museum] accessed 24 October 2007</ref> ==='Music Hall War' of 1907=== The rise of syndicates controlling a number of theatres, such as the Stoll circuit, led to increased tensions between employees and employers. On [[22 January]] [[1907]], a long brewing dispute between artists, stage hands and managers of the theatres came to a head at the [[Holborn Empire]]. Strikes in other London and suburban halls followed, organised by the Variety Artistes' Federation. The strike lasted for almost two weeks and was known as the ''Music Hall War''.<ref>[http://www.peopleplayuk.org.uk/guided_tours/music_hall_tour/the_story_of_the_music_halls/strike.php ''Music Hall Strike of 1907'' (Theatre Museum London)] accessed 15 November 2007</ref> It became extremely well known, and was enthusiastically supported by the main spokesmen of the trade union and Labour movement - [[Ben Tillett]] and [[Keir Hardie]] for example. The strike ended in arbitration, which saw most of the main demands satisfied, including a minimum wage and maximum working week for musicians. [[Image:1907 Music hall strike poster.jpg|thumb|left|1907 poster from the ''Music Hall War'' between artists and theatre managers]] Several music hall stars such as Marie Lloyd, [[Arthur Roberts]] [[Joe Elvin]] and [[Gus Elen]] were strong supporters of the strike, though they themselves earned enough not to be personally concerned in a material sense.<ref>[http://www.dgillan.screaming.net/stage/th-frames.html?http&&&www.dgillan.screaming.net/stage/th-muswar.html ''The Music Hall War'' (Stage Beauty)] accessed 24 October 2007</ref> Lloyd explained her support:{{cquotetxt|We (the stars) can dictate our own terms. We are fighting not for ourselves, but for the poorer members of the profession, earning thirty shillings to £3 a week. For this they have to do double turns, and now matinées have been added as well. These poor things have been compelled to submit to unfair terms of employment, and I mean to back up the federation in whatever steps are taken.|Marie Lloyd, on the ''Music Hall War''<ref>[http://tribunehistory.blogspot.com/2007/09/strike-of-month-marie-lloyd-and-music.html ''Strike of the month: Marie Lloyd and the music hall strike of 1907'' (Tribune Magazine) [[22 September]] [[2007]]] accessed 25 November 2007</ref><ref>Gillies Midge ''Marie Lloyd, the one and only'' (Gollancz, London, 1999)</ref>}} The pressure for greater rewards for music hall songwriters led to the application of [[copyright law]] to musical compositions. This in turn boosted the [[Music publisher (popular music)|music publication]] industry, and the sale of music in printed form. The term [[Tin Pan Alley]], for the music publication industry gained currency from the practice of rival publishers of banging together pots and pans in order to disrupt their competitors' musical auditions. The music publishers at the time (Feldman, Francis and Day...) were large, extremely profitable companies. They sold the right to sing songs to particular artists, and no other person had the right to sing the songs in public. ===Recruiting=== [[Image:1915 Women of Britain, say Go!.jpg|thumb|upright|May 1915 poster by E. V. Kealey, from the ''Parliamentary Recruiting Committee'']] :''See also [[Recruitment to the British Army during World War I]]'' [[World War I]] is considered by many to have been the high-water-mark of music hall popularity. Music hall artists and composers threw themselves into rallying public support and enthusiasm for the war effort. Patriotic music hall compositions like ''Keep the Home Fires Burning'' ([http://firstworldwar.com/audio/John%20McCormack%20-%20Keep%20The%20Home%20Fires%20Burning.mp3 1914]), ''Pack up Your Troubles'' ([http://firstworldwar.com/audio/Murray%20Johnson%20-%20Pack%20Up%20Your%20Troubles.mp3 1915]), ''[[It's a Long Way to Tipperary]]'' ([http://firstworldwar.com/audio/John%20McCormack%20-%20It's%20A%20Long%20Way%20To%20Tipperary.mp3 1914]) and ''We Don't Want to Lose You (but we think you ought to Go)'', were sung both by audiences at home and the soldiers in the trenches. Singers like [[Marie Lloyd]] went even further, singing lyrics like ''I didn't like you much before you joined the army, John, but I do like yer cockie now you've got your khaki on'' ([http://firstworldwar.com/audio/Marie%20Lloyd%20-%20Now%20You've%20Got%20The%20Khaki%20On.mp3 1914]).<ref>[http://books.google.com/books?id=n3PHdGaUqIkC&pg=PA156&lpg=PA156&dq=%22i+didn+t+like+you+much+before+you+joined+the+army%22&source=web&ots=-C4vzcPQjw&sig=F_6yX14pfx4z-7gIsdqMD3nNS0s ''Popular Music in England, 1840-1914: A Social History'' Dave Russell (1997 Manchester University Press) ISBN 0719052610] accessed 24 October 2007</ref> Many songs were aimed at recruitment (''All the boys in khaki get the nice girls'', 1915); others satirized particular elements of the war experience. ''What did you do in the Great war, Daddy'' ([http://firstworldwar.com/audio/Tom%20Clare%20-%20What%20Did%20You%20Do%20In%20The%20War,%20Daddy.mp3 1916]) criticized profiteers and slackers; Vesta Tilley's ''I've got a bit of a blighty one'' ([http://firstworldwar.com/audio/Vesta%20Tilley%20-%20I've%20A%20Bit%20Of%20A%20'Blighty%20One'.mp3 1916]) showed a soldier delighted to have a wound just serious enough to be sent home. The forced rhymes give a sense of black humour (''When they wipe my face with sponges/ and they feed me on [[blancmange]]s/ I'm glad I've got a bit of a blighty one'').<ref>[http://www.btinternet.com/~radical/thefolkmag/vesta.htm ''Vesta Tilley Biography''] accessed 24 October 2007</ref> Tilley's popularity reached its all-time high point at this time, when she and her husband, [[Walter de Frece]], ran a military recruitment drive. In the guise of characters like ''Tommy in the Trench'' and ''Jack Tar Home from Sea'', Tilley performed songs like ''The army of today's all right'' and ''Jolly Good Luck to the Girl who Loves a Soldier''. This is how she got the nickname ''Britain's best recruiting sergeant'' - young men were sometimes asked to join the army on stage during her show. She also performed in hospitals and sold [[War Bonds]]. Her husband was [[knighted]] in 1919 for his own services to the war effort, with Tilley becoming Lady de Frece.<ref>''Vesta Tilley'', Sarah Maitland (1986 Virago) p14 ISBN 0-86068-795-3</ref> Possibly the most notorious of music hall songs from the [[First World War]] was ''[[Oh! What a Lovely War|Oh! It's a lovely war]]'' ([http://firstworldwar.com/audio/Courtland%20And%20Jeffries%20-%20Oh,%20It's%20A%20Lovely%20War.mp3 1917]), popularised by [[Drag king|male impersonator]] [[Ella Shields]]. ===Decline=== Music hall continued in the inter-war period, but no longer as the single dominant form of popular entertainment in Britain. The arrival of radio, and the cheapening of the gramophone damaged it enormously. It now had to compete with [[Jazz]], [[Swing (genre)|Swing]] and [[Big Band]] dance music, as well as with [[film|cinema]]. Licensing restrictions also changed its character. In 1914 the [[LCC]] enacted that drinking be banished from the auditorium into a separate bar and in 1923 even the separate bar was abolished by parliamentary decree. The exemption of the theatres from this latter act prompted some critics to denounce this legislation as an attempt to deprive the working classes of their pleasures, as a form of social control, whilst sparing the supposedly more responsible upper classes who patronised the theatres.<ref>Lucinda Jarret (1997): Stripping in Time: A History of Erotic Dancing: 107</ref>Even so, the music hall gave rise to such major stars as [[George Formby]], [[Gracie Fields]], [[Max Miller]], and [[Flanagan and Allen]] during this period. After World War II, competition from television and other musical idioms, including [[Rock and Roll]], led to the slow demise of the British music halls, despite some desperate attempts to retain an audience by putting on [[striptease]] acts. In 1957, the playwright [[John Osborne]] delivered this elegy<ref>John Osbourne (1957) ''The Entertainer'': 7. Faber and Faber, London</ref>: {{cquote|The music hall is dying, and with it, a significant part of England. Some of the heart of England has gone; something that once belonged to everyone, for this was truly a folk art.|20px|20px|John Osbourne, ''The Entertainer'' (1957)}} The final blows came when [[Moss Empires]], the largest British Music Hall chain, closed the majority of its theatres in 1960, closely followed by the death of music hall stalwart [[Max Miller]] in 1963, prompting one contemporary to write that: "Music-halls...died this afternoon when they buried Max Miller".<ref>[http://www.fundinguniverse.com/company-histories/StollMoss-Theatres-Ltd-Company-History.html ''Stoll-Moss Theatres Ltd'' (Company History)] accessed 2 November 2007</ref><ref>Clarkson Rose (1964) ''Red Plush and Greasepaint'': 136</ref>Stage and film [[musicals]], however, continued to be influenced by the music hall idiom. ''[[Oliver!]]'', ''[[Dr Dolittle]]'', ''[[My Fair Lady]]'', and many other musicals continued to retain strong roots in music hall. The [[BBC]] series ''[[The Good Old Days]]'', which ran for thirty years, recreated the music hall for the modern audience, and the ''[[Paul Daniels]] Magic Show'' allowed several speciality acts a television presence from 1979 to 1994. Aimed at a younger audience, but still owing a lot to the music hall heritage, was the late '70s series ''[[The Muppet Show]]''.<ref>[http://www.qsulis.demon.co.uk/Website_Louise_Gold/The_Muppet_Show_Music_Hall.htm ''The Muppet Show Music Hall''] accessed 2 November 2007</ref> ==History of the songs== The musical forms most associated with music hall evolved in part from traditional folk song and songs written for popular drama, becoming by the 1850s a distinct musical style. Subject matter became more contemporary and humorous, and accompaniment was provided by larger house-orchestras as increasing affluence gave the lower classes more access to commercial entertainment and to a wider range of musical instruments, including the [[piano]]. The consequent change in musical taste from traditional to more professional forms of entertainment arose in response to the rapid [[industrialisation]] and [[urbanisation]] of previously rural populations during the [[industrial revolution]]. The newly created urban communities, cut off from their cultural roots, required new and readily accessible forms of entertainment<ref name=song>[http://www.musichallcds.com/music_hall_songs.htm ''The Songs of the Music Hall'' (Music Hall CDs)] accessed 2 November 2007</ref>. Music halls were originally bar rooms which provided entertainment, in the form of music and speciality acts, for their patrons. By the middle years of the nineteenth century the first purpose-built music halls were being built in [[London]]. The halls created a demand for new and catchy popular songs that could no longer be met from the traditional [[folk song]] repertoire. Professional songwriters were enlisted to fill the gap. The emergence of a distinct music hall style can be credited to a fusion of musical influences. Music hall songs needed to gain and hold the attention of an often jaded and unruly urban audience. In America from the 1840s [[Stephen Foster]] had reinvigorated folk song with the admixture of Negro [[spiritual (music)|spiritual]] to produce a new and vibrant form of popular song. Songs like ''[[Old Folks at Home]]'' (1851)<ref>[http://www.pitt.edu/~amerimus/ofah.htm ''Old Folks at Home'' (Center for American Music)] accessed 2 November 2007</ref> and ''Golden Slippers'' ([http://lcweb2.loc.gov/music/sm/smaudio/7901966.wav James Bland, 1879])<ref>[http://memory.loc.gov/ammem/smhtml/audiodir.html#7901966 ''Golden Slippers'' Music for the Nation (Library of Congress) (1998)] accessed 2 November 2007. ''Oh, Dem Golden Slippers'' was a minstrel parody by James Bland of an earlier spiritual by the Fisk Jubilee Singers, [[Golden Slippers]].</ref> spread round the globe, taking with them the idiom and appurtenances of the [[minstrel show|minstrel]] song. Other influences on the rapidly-developing music hall idiom were [[Irish music|Irish]] and European music, particularly the [[jig]], [[polka]], and [[waltz]]. Typically a music hall song consists of a series of [[Verse (popular music)|verses]] sung by the performer alone, and a repeated [[refrain|chorus]] which carries the principal [[melody]], and in which the audience is encouraged to join. In Britain, the first music hall songs often promoted the alcoholic wares of the owners of the halls in which they were performed. Songs like ''Glorious Beer''<ref>''Beer, Beer, Glorious Beer'' words and music by Harry Anderson, Steve Leggett, and Will Goodwin, published 1901</ref>, and the first major music hall success, ''[[Champagne Charlie (song)|Champagne Charlie]]'' (1867) had a major influence in establishing the new art form. The tune of ''Champagne Charlie'' became used for the [[Salvation Army]] hymn ''Bless His Name, He Sets Me Free'' (1881). When asked why the tune should be used like this, [[William Booth]] is said to have replied, ''Why should the devil have all the good tunes?''. The people the Army sought to save, knew nothing of the [[hymn tune]]s or gospel melodies used in the churches, but "the music hall had been their melody school"<ref>[http://www1.salvationarmy.org/heritage.nsf/0/42d53ced9ec1583080256954004bff3e!OpenDocument&ExpandSection=1 ''Why Should The Devil Have All The Best Tunes?'' (Salvation Army History)] accessed 2 November 2007. The origin of the quotation is problematic, it is first attributed to [[Martin Luther]] (1483-1546), and also to sermons preached by both [[Rowland Hill (preacher)|Rowland Hill]] (1744-1833), and [[John Wesley]] (1703-1791)</ref>. By the 1870s the songs had cut themselves free from their folk music roots, and particular songs also started to become associated with particular singers, often with exclusive contracts with the songwriter, just as many [[Pop music|pop]] songs are today. Towards the end of the style the music became influenced by [[ragtime]] and [[jazz]], before being overtaken by them. Music hall songs were often unashamedly aimed at their working class audiences, reflecting the experiences and humour in their daily lives. Songs like ''[[My Old Man (Said Follow the Van)]]'', ''Knocked 'em in the Old Kent Road'', and ''Waiting at the Church'', expressed in melodic form situations that the urban poor were very familiar with. Music Hall songs could be romantic, patriotic, humorous or sentimental, as the need arose<ref name=song/>. The most popular Music Hall songs became the basis for the [[Pub song]]s of the typical [[Cockney]] "[[Knees Up Mother Brown|knees up]]". ===Famous Music hall songs=== :''For a fuller list see [[Music hall songs]]'' *"[[Any Old Iron (song)|Any Old Iron]]" ([[Charles Collins]]; Terry Sheppard) sung by [[Harry Champion]]. *"[[Boiled Beef and Carrots]]" (Charles Collins and [[Fred Murray]]) sung by Harry Champion. *"[[The Boy I Love is up in the Gallery]]" (George Ware) sung by [[Nellie Power]] and [[Marie Lloyd]]. *"[[Burlington Bertie|Burlington Bertie from Bow]]" (William Hargreaves) sung by [[Ella Shields]]. *"[[Daddy Wouldn't Buy Me a Bow Wow]]" ([[Joseph Tabrar]]) sung by [[Vesta Victoria]]. *"[[Daisy Bell]]" ([[Harry Dacre]]) sung by [[Katie Lawrence]]. *"Down at the Old Bull and Bush" ([[Harry von Tilzer]]; [[Andrew B. Sterling]]) sung by [[Florrie Forde]]. *"Goodbye, Dolly Grey" ([[Paul Barnes]]; Will. D. Cobb) sung by [[George Lashwood]]. *"[[Has Anybody Here Seen Kelly?]]" ([[C.W. Murphy]] and Will Letters) sung by Florrie Ford. *"Hello, Hello, Who's Your Lady Friend?" ([[Harry Fragson]]; Worton David and [[Bert Lee]]) sung by [[Mark Sheridan]]. *"Hold Your Hand Out, Naughty Boy" (C.W. Murphy and Will Letters) sung by Florrie Ford. *"[[I'm Henery the Eighth, I Am]]" (1911) [http://www.archive.org/download/HarryChampion/HarryChampion-ImHeneryTheEighth.mp3] ([[Fred Murray]] and Bert Weston) sung by Harry Champion. *"I Live in Trafalgar Square" (C.W. Murphy) sung by [[Morny Cash]]. *"If It Wasn't For The 'Ouses In Between" (George Le Brunn; Edgar Bateman) sung by [[Gus Elen]]. *"It's a Bit of a Ruin That Cromwell Knocked About a Bit" ([[Harry Bedford]]; [[Terry Sullivan]]) sung by Marie Lloyd. *"[[It's a Long Way to Tipperary]]" (1914) [http://firstworldwar.com/audio/John%20McCormack%20-%20It's%20A%20Long%20Way%20To%20Tipperary.mp3] ([[Jack Judge]] and [[Harry Williams]]) sung by John McCormack. *"Let's All Go Down the Strand" (Harry Castling and [[C.W. Murphy]]) sung by [[Charles R. Whittle]]. *"[[My Old Man (Said Follow the Van)]]" ([[Charles Collins]] and Fred W. Leigh) sung by Marie Lloyd. *"[[Oh! What a Lovely War|Oh! It's a lovely war]]" sung by Ella Shields. *"Oh, Mr. Porter" (George Le Brunn; Thomas Le Brunn) sung by Marie Lloyd. *"[[Ta-ra-ra-boom-de-ay]]" (Harry J. Sayers) sung by [[Lottie Collins]]. *"Where Did You Get That Hat?" (James Rolmaz) sung by [[J.C Heffron]]. *"Waiting At The Church" [http://www.archive.org/download/VestaVictoria/VestaVictoria-WaitingattheChurch.mp3] (Henry E. Pether; Frank W. Leigh) sung by Vesta Victoria. ===Music hall songwriters=== * [[Harry Dacre]], composer of "[[Daisy Bell]]" * [[Noel Gay]], writer of "Lambeth Walk", "There's Something About a Soldier", "Leaning on a Lamppost" * Fred Gilbert, composer of "The Man that Broke the Bank At Monte Carlo" * [[Harry Lauder]], writer of "Stop your Tickling Jock", "I Love A Lassie" * George Le Brunn, writer of "Oh! Mr Porter!" * Fred W Leigh, composer of "Don't Dilly Dally" and "The Army of Today" * [[Arthur Lloyd]], over 100 songs. * [[Lionel Monckton]], composer of "Moonstruck", "Soldiers in the Park", "The Pipes of Pan" * [[C.W. Murphy]], composer of "[[Has Anybody Here Seen Kelly?]]" * [[Felix Powell]], writer of "Pack up Your Troubles" * [[Joseph Tabrar]], writer of "[[Daddy Wouldn't Buy Me a Bow Wow]]" * [[Harry Wincott]], writer of "The Old Dun Cow" * George Alex Stevens, writer of "Mother I Love You", "Chump Chop and Chips" and "When the Harvest Moon is Shining". ==Music hall comedy== The typical music hall comedian was a man or woman, usually dressed 'in character' to suit the subject of the song, or sometimes attired in absurd and eccentric style. Until well into the twentieth century the acts were essentially vocal, with songs telling a story, accompanied by a minimum of patter. They included a variety of genres, including: *Lions Comiques: essentially, men dressed as a 'toff', who sang songs about drinking champagne, going to the races, going to the ball, womanising and gambling, and living the life of an Aristocrat. *Male and [[female impersonator]]s, perhaps more in the style of a [[pantomime dame]] than a modern [[drag queen]]. Nevertheless these included some more sophisticated performers such as [[Vesta Tilley]], whose male impersonations communicated real social commentary. 'Stand up', spoken wisecracking acts and double acts with one performer being prompted and interrupted by a 'straight' partner, belong to later developments, derived partly from pantomime and partly from the importation of American comedy styles. The phrases 'I don't wish to know that!' and 'kindly leave the stage!' and some of today's habits, such as finishing on a song, belong to this later period. Inter-war radio programmes such as ''[[Band Waggon]]'' adapted the music hall and variety traditions to the new medium, while, more recently, 'The Goon Show' took radio comedy into the surreal. Early television [[variety shows]] picked up some of the pieces, but this was at a time when music hall was already on its last legs. Nearer to today, the spirit of music hall genre has enjoyed a new kind of life in television's [[The Muppet Show]]. ==Speciality acts== The vocal content of the music hall bills, was, from the beginning, accompanied by many other kinds of act, some of them quite weird and wonderful. These were known collectively as ''speciality acts'', which, over time, have included: [[Image:Jules Léotard2.jpg|thumb|220px|right| [[Jules Léotard]] - ''The Daring Young man on the Flying Trapeze'']] *[[Trapeze|Aerial acts]], of the sort usually seen at the Circus *Adagio: essentially a sort of cross between a dance act and a juggling act, consisting usually of a male dancer who threw a slim, pretty young girl around. Some aspects of modern dance choreography evolved from Adagio acts<ref>[http://www.dancesport.uk.com/training/exhibit.htm DanceSport UK] accessed [[10 May]] [[2007]]</ref>. *[[Magic (illusion)|Magic]] acts and [[Escapology|escapologists]], such as Harry Houdini. *Cycling acts: again, a development of a Circus act, consisting of either a solo or a troupe of [[trick cyclist]]s. There was even seven-piece a cycling band called Seven Musical Savonas, who played fifty instruments between them, and Kaufmann's Cycling Beauties, a troupe of girls in Victorian swim wear. *[[Ventriloquism|Ventriloquists]], or ''Vent'' acts as they were called in the business. *Electric acts, using the newly discovered phenomena of [[static electricity]] to produce tricks such as lighting gas jets and setting fire to handkerchiefs through the performers fingertips. *[[Impalement arts|Knife throwing]] and [[sword swallowing]]. The most spectacular of its time was the Victorina Troupe, who swallowed a sword fired from a rifle. *[[Juggling]] and [[plate spinning]] acts. Another variation was the [[Diabolo]]. *[[Feats of strength]] by both [[Strongman (strength athlete)|strongmen]] and [[strongwomen]]. *[[Fire eater]]s and other eating acts, such as eating glass, razor blades, goldfish etc. *[[Wrestling]] and [[jujitsu]] exhibitions were both popular specialty acts, forming the basis of modern [[professional wrestling]]. *[[Mentalism]] acts. Commonly a male mentalist, blindfolded on stage, and an attractive female assistant passing among the audience. The assistant would collect objects from the audience, and the mentalist would identify each by 'reading' the assistants mind. This was usually accomplished by a clever system of codes and clues from the assistant. *[[Mime artist]]s and [[impressionist (entertainment)|impressionists]]. *Trampoline acts. *Animal acts: Talking dogs, [[Flea circus]]es, and all manner of animals doing tricks. *[[Stilts|Stilt]] walkers. *[[Puppet]] acts, including human puppets and living doll acts. *Comic pianists, such as [[John Orlando Parry]] and [[George Grossmith]]. *Cowboy/[[Wild West]] acts. *And shadow Puppit acts. ==Music hall performers== [[Image:1867 NationalStandardTheatre.jpg|thumb|right|250px|1867 Poster from the National Standard Theatre, [[Shoreditch]]. Not ''strictly'' a Music hall, but a theatre where many of these artists performed their Music hall acts.]] *[[Arthur Askey]] (1900–1982) *[[Joséphine Baker]] (1906–1975) *[[Fred Barnes (performer)|Fred Barnes]] (1885-1938) *[[Bessie Bellwood]] (1856-1896) *Herbert Campbell (1844-1904) *[[Kate Carney]] (1869–1950) *[[Harry Champion]] (1866–1942) *[[Charlie Chaplin]] (1889–1977) - more famous as a silent film star *[[Sydney Chaplin]] (1885–1965) *[[Albert Chevalier]] (1861–1923) *G. H. Chirgwin *[[Charles Coborn]] (1852–1945) *[[The Cox Twins]] (1920-) *[[Ken Dodd]] (1927-) *[[Daisy Dormer]] (1883–1947) *[[Leo Dryden]] (1864-1939) *[[Clive Dunn]] (1920-) *[[T E Dunville]] (1867-1924) *[[Gus Elen]] (1862-1940) *[[Norman Evans]] (1901–1962) *[[Gracie Fields]] (1898–1979) *[[Flanagan and Allen]] (1896-1968) and (1893-1982). *[[Florrie Forde]] (1875–1940) *[[George Formby (Senior)|George Formby Senior]] (1876-1921) *[[George Formby]] (1904–1961) *[[Harry Fragson]] (1869-1913) *[[Will Hay]] (1888–1949) *[[William Hinds|Will Hammer]] (1887–1957) - more famous as the founder of [[Hammer Film Productions|Hammer Films]] *Jenny Hill *[[Fred Karno]] (1866-1941) *[[Marie Kendall]] (1873–1964) *[[Hetty King]] (1883–1972) *[[Harry Lauder]] (1870-1950) *[[Stan Laurel]] (1890–1965) - more famous as a Hollywood star *[[Katie Lawrence]] d. 1913 *[[Dan Leno]] (1860-1904) [[Image:King, Hetty - 1910 (male impersonator).jpg|thumb|right|150px|1910 [[Hetty King]] - sheet music cover.]] *[[Jules Léotard]] (1839-1870) *[[George Leybourne]] (1842–1884) *[[Cecilia Loftus]] (1876–1943) *[[Violet Loraine]] (1886–1956) *[[Little Tich]] (1867-1928) *[[Arthur Lloyd]] (1839-1904) *[[Marie Lloyd]] (1870–1922) *G. H. McDermott *[[Max Miller]] (1894–1963) *[[Lily Morris]] (1882–1952) *[[Denise Orme]] (1885–1960) *[[Arthur Roberts]] (1852-1933) *[[George Robey]] (1869–1954) *[[Ronnie Ronalde]] (1923-) *[[Ella Shields]] (1879–1952) *Mark Sheridan *[[Stainless Stephen]] (1892-1971) *[[Eugene Stratton]] (1861–1918) *[[Harry Tate]] (1872-1940) *[[Vesta Tilley]] (1864–1952) *[[Peter Ustinov]] (1921–2004) *[[Alfred Vance]] (1839–1888) *[[Vesta Victoria]] (1873–1951) *[[Vulcana]] (1875–1946) - main attraction of the Atlas and Vulcana Group of Society Athletes *[[Max Wall]] (1908–1990) *[[H. Vernon Watson]] (performing under the sobriquet ''Nosmo King'') *[[Daisy Wood]] (and the ''Sisters Lloyd'') *[[Billy Williams (music hall performer)|Billy Williams]] (1878-1915) *[[Wilson, Keppel and Betty]] ==Music hall in literature, drama, and screen== The music hall has been evoked in many films, plays, TV series and books. *About half of the film ''[[Those Were The Days (1934 film)|Those Were The Days]]'' (1934) is set in a music hall. It was based on a farce by [[Pinero]] and features the music hall acts of [[Lily Morris]], [[Harry Bedford]], the gymnasts Gaston & Andre, G.H. Elliott, Sam Curtis and Frank Boston & Betty. *A music hall with a 'memory man' act provides a pivotal plot device in the classic 1935 [[Hitchcock]] thriller ''[[The 39 Steps (1935 film)|The 39 Steps]]''<ref>{{imdb title|id=0026029|title=The 39 Steps (1935)}}</ref>. *The Arthur Askey comedy film ''[[I Thank You (film)|I Thank You]]'' (1941) features old time music hall star Lily Morris as an ex-music hall artiste now enobled as "Lady Randall". In the last scene of the film, however, she reverts to type and gives a rendition of "Waiting at the Church" at an impromptu concert at [[Aldwych tube station]] organised by Askey and his side-kick [[Richard Murdoch|Richard "Stinker" Murdoch]]. *The Victorian era of music hall was celebrated by the 1944 film ''[[Champagne Charlie (film)|Champagne Charlie]]''<ref>{{imdb title|id=0036704|title=Champagne Charlie (1944)}}</ref>. *Charlie Chaplin's 1952 film ''[[Limelight (film)|Limelight]]'', set in 1914 London, evokes the music hall world of Chaplin's youth where he performed as comedian before he achieved world-wide celebrity as a film star in America. The film depicts the last performance of a washed-up music hall clown called Calvero at The Empire theatre, Leicester Square. The film premiered at the Empire Cinema, which was built on the same site as the Empire theatre<ref>{{imdb title|0044837|Limelight}}</ref>. *''[[The Good Old Days]]'' (1953 to 1983) was a popular BBC television light entertainment programme recorded live at the [[Leeds City Varieties]] which recreated an authentic atmosphere of the Victorian–Edwardian music hall with songs and sketches of the era performed by present-day performers in the style of the original artistes. The audience dressed in period costume and joined in the singing, especially the singing of ''Down at the Old Bull and Bush'' which closed the show. The show was compered by [[Leonard Sachs]] who introduced the acts. In the course of its run it featured about 2000 artists. The show was first broadcast on [[July 20]], [[1953]]. ''The Good Old Days'' was inspired by the success of the ''Ridgeway's Late Joys'' at the [[Players' Theatre]] Club in London: a private members' club that ran fortnightly programmes of variety acts in London's West End<ref>[http://www.whirligig-tv.co.uk/tv/history/history.htm ''1950's British TV Milestones'' (Whirligig, 2003)] accessed 24 October 2007</ref>. *[[John Osborne]]'s play ''[[The Entertainer (play)|The Entertainer]]'' (1957) portrays the life and work of a failing third-rate music hall stage performer who tries to keep his career going even as his personal life falls apart. The story is set at the time of the Suez Crisis in 1956, against the backdrop of the dying music hall tradition, and has been seen as symbolic of Britain's general post-war decline, its loss of its Empire, its power, and its cultural confidence and identity. It was made into a film in 1960 starring [[Laurence Olivier]] in the title role of Archie Rice<ref>{{imdb title|id=0053796|title=The Entertainer}}</ref>. *[[J. B. Priestley]]'s 1965 novel ''[[Lost Empires]]'' also evokes the world of Edwardian music hall just before the start of World War I; the title is a reference to the [[Moss Empires|Empire theatres]] (as well as foreshadowing the decline of the British Empire itself). It was recently adapted as a television miniseries, shown in both the UK and in the U.S. as a PBS presentation. Priestley's 1929 novel ''[[The Good Companions]]'', set in the same period, follows the lives of the members of a "concert party" or touring "Pierrot troupe". *The parodic film ''[[Oh! What a Lovely War]]'' (1969), based on the stage play by [[Joan Littlewood]]'s [[Theatre Workshop]], featured the music hall turns and songs that had provided support for the British war effort in World War I<ref>{{imdb title|id=0064754|title=Oh! What a Lovely War}}</ref>. *The popular British television series ''[[Upstairs, Downstairs]]'' (1971-1975) and its spin-off ''[[Thomas & Sarah]]'' (1979) each dealt frequently with the world of the Edwardian music hall, sometimes through references to actual Edwardian era performers such as [[Vesta Tilley]] or to characters on the show attending performances, and other times through the experiences of the popular character [[Sarah Moffat]], who left domestic service several times and often ended up going on stage to support herself when she did. *Between 1978 and 1984 [[BBC television]] broadcast two series of programmes called ''The Old Boy Network''<ref>[http://www.bbc.co.uk/comedy/guide/articles/o/oldboynetworkthe_1299002400.shtml The Old Boy Network] accessed [[10 May]] [[2007]]</ref>. These featured a star (usually a Music Hall performer, but also some younger turns like [[Eric Sykes]]) performing some of their best known routines while giving a slide show of their life story. Artistes featured included [[Arthur Askey]], [[Tommy Trinder]], [[Sandy Powell (comedian)|Sandy Powell]], and [[Chesney Allen]]. *The modern [[Players' Theatre]] Club provides a brief impression of contemporary music hall in the film ''The Fourth Angel'', where [[Jeremy Irons]]' character creates an alibi by visiting a show<ref>{{imdb title|id=0254334|title=The Fourth Angel}}</ref>. *[[Sarah Waters]]'s book ''[[Tipping the Velvet]]'' (1998) revolves around the world of music halls in the late Victorian era, and in particular around two fictional "mashers" ([[drag kings]]) named Kitty Butler and Nan King<ref>[http://www.bbc.co.uk/drama/tippingthevelvet/ BBC Drama - description] accessed [[10 May]] [[2007]]</ref>. ==Surviving music halls== [[Image:Hackney empire 1.jpg|thumb|right|250px|The Hackney Empire, August 2005]] London was the centre of Music Hall with hundreds of venues, often in the entertainment rooms of public houses. With the decline in popularity of Music Hall, many were abandoned, or converted to other uses, such as cinemas and their interiors lost. There are a number of purpose built survivors, including the [[Hackney Empire]], an outstanding example of the late Music Hall period ([[Frank Matcham]] 1901). This has been restored to its moorish splendour and now provides an eclectic programme of events from opera to "Black Variety Nights". A mile to the south is [[Hoxton Hall]] an 1863 example of the saloon-style. It is unrestored but maintained in its original layout, and currently used as a community centre and theatre<ref>[http://www.artandarchitecture.org.uk/stories/rhys-jones_hackney.html?ixsid=J7TWorWcJK9 ''Hackney Empire'' Art and Architecture] accessed 1 November 2007</ref>. In the neighbouring borough, Collins Music Hall (built about 1860) still stands on the North side of [[Islington]] Green. The hall closed in the 1960s and currently forms part of a bookshop<ref>[http://www.british-history.ac.uk/report.aspx?compid=471 ''Islington: Social and cultural activities'', A History of the County of Middlesex: Volume 8: Islington and Stoke Newington parishes (1985), pp. 45-51] accessed: [[01 November]] [[2007]]</ref>. In [[Clapham]], The Grand, originally the 1900 'Grand Palace of Varieties', has been restored, but its interior reflects its modern use as a music venue and nightclub<ref>''The Stage Guide and Directory'' (1912)</ref>. The [[Greenwich Theatre]] was originally the 'Rose and Crown Music Hall' (1855), and later became 'Crowder's Music Hall and Temple of Varieties'. The building has been extensively modernised and little of the original layout remains<ref>[http://www.arthurlloyd.co.uk/Greenwich.htm ''Theatres and Halls in Greenwich, London'' (Arthur Lloyd)] accessed: [[01 November]] [[2007]]</ref>. In the nondescript Grace's Alley, off Cable Street, [[Stepney]] stands [[Wilton's Music Hall]]. This 1858 example of the ''giant pub hall'' survived use as a church, fire, flood and war intact, but was virtually derelict, after its use as a rag warehouse, in the 1960s. The Wilton's Music Hall Trust has embarked on a fund-raising campaign to restore the building<ref>Peter Honri ''John Wilton's Music Hall, The Handsomest Room in Town'' (1985)</ref>. In June 2007 the [[World Monuments Fund]] added the building to its list of the world's "100 most endangered sites".<ref>[http://www.guardian.co.uk/commentisfree/story/0,,2098219,00.html ''In praise of Wilton's music hall''] ''[[The Guardian]]'', [[2007-06-08]]</ref> Many of these buildings can be seen as part of the annual [[London Open House]] event. [[Image:London-coliseum.jpg|right|thumb|200px|1904 London Coliseum, Matcham theatre with London's widest proscenium arch]] There are also surviving music halls outside London, a notable example is the [[Leeds City Varieties]] (1865) with a preserved interior. This was used for many years as the setting for the BBC television variety show, based on the music hall genre, ''[[The Good Old Days]]''. The [[Bradford Alhambra|Alhambra Theatre, Bradford]] was built in 1914 for theatre impresario Frank Laidler, and later owned by the [[Oswald Stoll|Stoll]]-[[Edward Moss|Moss]] Empire'. It was restored in 1986, and is a fine example of the late [[Edwardian era|Edwardian style]]. It is now a ''receiving theatre'' for touring productions, and opera<ref>[http://www.arthurlloyd.co.uk/BradfordTheatres/BradfordAlhambraTheatre.htm ''Alhambra Theatre and Majestic Cinema, Morely Street, Bradford, West Yorkshire'' (Arthur Lloyd)] accessed 1 November 2007</ref>. In [[Northern Ireland]], the [[Grand Opera House (Belfast)]]. Frank Matcham 1895, was preserved and restored in the 1980s<ref>[http://www.goh.co.uk/index.php?option=content&task=view&id=12&Itemid=44 ''Over 106 Years of Theatre Going at Northern Ireland's Premier Theatre'' (Grand Opera House)] accessed 1 November 2007</ref>.The [[Gaiety Theatre, Isle of Man|Gaiety Theatre]], [[Isle of Man]] is another Matcham design from 1900<ref>[http://www.iom.com/gaietytheatre/ ''The Gaiety Theatre'' (Isle of Man)] accessed 1 November 2007</ref> that remains in use after an extensive restoration programme in the 1970s. In [[Glasgow]], the Britannia Music Hall (1857), by architects Thomas Gildard and H.M. McFarlane remains standing, with much of the theatre intact but in a poor state having closed in 1938. There is a preservation trust attempting to rescue the theatre<ref>[http://www.glasgowmerchantcity.net/britanniapanopticontrust.htm ''Scotland's Last Surviving Music Hall'' (Britannia Theatre Trust)] accessed 1 November 2007</ref>. One of the few fully functional music hall entertainments, is at the Brick Lane Music Hall in a former church in [[North Woolwich]]. [http://www.bricklanemusichall.co.uk For information]. The [[Players' Theatre]] Club is another group performing a Victorian style Music Hall show at a variety of venues. ==See also== The term "Music hall" is also used to describe some large musical venues, such as the [[Paris Olympia]], [[Radio City Music Hall]], and Music Hall in [[Cincinnati, Ohio]] (see [[Cincinnati Symphony Orchestra]]). *[[Vaudeville]] *[[Players' Theatre]] *[[Music Hall, Shrewsbury|Shrewsbury Music Hall]] ==References== {{Reflist|2}} ==Further reading== *Alexander, John, ''Tearing Tickets Twice Nightly:The Last Days of Variety'' (Arcady Press, 2002) *Bailey, Peter, ed., ''Music Hall: The Business of Pleasure'', (Milton Keynes, Open University Press, 1986) *Bergen, Edgar, ''How To Become a Ventriloquist'', (Mineola: Dover Publications, 2000) *Bratton, J.S., ed., ''Music Hall: Performance & Style'' (Milton Keynes, Open University Press, 1986) *Bruce, Frank, ''More Variety Days: Fairs, Fit-ups, Music hall, Variety Theatre, Clubs, Cruises and Cabaret'' (Edinburgh, Tod Press, 2000) *Busby, Roy, ''British Music Hall: An Illustrated Who's Who from 1850 to the Present Day'' (London: Paul Elek, 1976) *Cheshire, D.F., ''Music Hall in Britain'', (Newton Abbot: David & Charles, 1974) *Connor, Steven, ''Dumbstruck: A Cultural History of Ventriloquism'' (Oxford University Press, 2000) *Earl, John, ''British Theatres and Music Halls'' (Princes Risborough, Shire, 2005) *Garrett, John M., ''Sixty Years of British Music Hall'', (London, Chappell & Company in association with Andre Deutsch, 1976) *Earl, John and Sell, Michael (eds.) ''The Theatres Trust Guide to British Theatres, 1750-1950'' (A & C Black Publishers Ltd, 2000) *Green, Benny, ed., ''The Last Empires: A Music Hall Companion'' (London, Pavilion Books Ltd. in association with Michael Joseph Ltd., 1986) *Honri, Peter ''John Wilton's Music Hall, The Handsomest Room in Town'' (1985) *Howard, Diana ''London Theatres and Music Halls 1850-1950'' (1970) *Hudd, Roy, ''Music Hall'' (London, Eyre Methuen, 1976) *Maloney, Paul, ''Scotland and the Music Hall, 1850-1914'' (Manchester University Press, 2003) *Mander, Raymond, and Mitchenson, Joe, ''British Music Hall'' (London, Gentry Books, 1974) *Mellor, G.J., ''The Northern Music Hall'' (Newcastle Upon Tyne, Frank Graham, 1970) *Mellor, G.J., ''They Made us Laugh: A Compendium Of Comedians Whose Memories Remain Alive'' (Littleborough, George Kelsall, 1982) *O'Gorman, Brian, ''Laughter in the Roar: Reminiscences of Variety and Pantomime'' (Weybridge, B. O'Gorman, 1998) *Wilmut, Roger, ''Kindly Leave The Stage - The story of Variety 1919-1960'' (London, Methuen 1985) *[http://www.vam.ac.uk/tco/subjects/music_hall/index.html ''The V&A Theatre Collections for Music Hall and Variety''] ==External links== {{commonscat|Music Hall}} *[http://www.music-hall-society.com/ The British Music Hall Society] *[http://www.rfwilmut.clara.net/musichll/musich.html Remastered recordings of music hall artists] *[http://www.victorianlondon.org/frame-entertainment.htm The "Entertainment" section of www.victorianlondon.org] *[http://www.yvomusichall.co.uk/ Your Very Own Music Hall Company] *[http://www.arthurlloyd.co.uk/index.html Arthur Lloyd (performer) site] links to transcriptions of historical sources on performances and venues [[Category:Music hall| ]] [[Category:British popular music]] [[Category:Music genres]] [[Category:Theatre in the United Kingdom]] [[Category:Theatrical genres]] [[Category:Variety entertainment]] [[Category:British styles of music]] [[cs:Varieté]] [[da:Varieté]] [[de:Varieté]] [[es:Music hall]] [[fr:Music-hall]] [[it:Music-hall]] [[nl:Variété]] [[ja:ミュージックホール]] [[no:Varieté]] [[fi:Varietee]] [[sv:Varieté]] [[ta:மியூசிக் ஹால்]]