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class="vector-toc-text"> 1.1 Early music halls </div> </a> <ul id="toc-Early_music_halls-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-Variety_theatre" class="vector-toc-list-item vector-toc-level-2"> <a class="vector-toc-link" href="#Variety_theatre"> <div class="vector-toc-text"> 1.2 Variety theatre </div> </a> <ul id="toc-Variety_theatre-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-'Music_Hall_War'_of_1907" class="vector-toc-list-item vector-toc-level-2"> <a class="vector-toc-link" href="#'Music_Hall_War'_of_1907"> <div class="vector-toc-text"> 1.3 'Music Hall War' of 1907 </div> </a> <ul id="toc-'Music_Hall_War'_of_1907-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-Recruiting" class="vector-toc-list-item vector-toc-level-2"> <a class="vector-toc-link" href="#Recruiting"> <div class="vector-toc-text"> 1.4 Recruiting </div> </a> <ul id="toc-Recruiting-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-Decline" class="vector-toc-list-item vector-toc-level-2"> <a class="vector-toc-link" href="#Decline"> <div class="vector-toc-text"> 1.5 Decline </div> </a> <ul id="toc-Decline-sublist" class="vector-toc-list"> </ul> </li> </ul> </li> <li id="toc-Music_halls_of_Paris" class="vector-toc-list-item vector-toc-level-1 vector-toc-list-item-expanded"> <a class="vector-toc-link" href="#Music_halls_of_Paris"> <div class="vector-toc-text"> 2 Music halls of Paris </div> </a> <ul id="toc-Music_halls_of_Paris-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-History_of_the_songs" class="vector-toc-list-item vector-toc-level-1 vector-toc-list-item-expanded"> <a class="vector-toc-link" href="#History_of_the_songs"> <div class="vector-toc-text"> 3 History of the songs </div> </a> <button aria-controls="toc-History_of_the_songs-sublist" class="cdx-button cdx-button--weight-quiet cdx-button--icon-only vector-toc-toggle"> Toggle History of the songs subsection </button> <ul id="toc-History_of_the_songs-sublist" class="vector-toc-list"> <li id="toc-Famous_music_hall_songs" class="vector-toc-list-item vector-toc-level-2"> <a class="vector-toc-link" href="#Famous_music_hall_songs"> <div class="vector-toc-text"> 3.1 Famous music hall songs </div> </a> <ul id="toc-Famous_music_hall_songs-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-Music_hall_songwriters" class="vector-toc-list-item vector-toc-level-2"> <a class="vector-toc-link" href="#Music_hall_songwriters"> <div class="vector-toc-text"> 3.2 Music hall songwriters </div> </a> <ul id="toc-Music_hall_songwriters-sublist" class="vector-toc-list"> </ul> </li> </ul> </li> <li id="toc-Music_hall_comedy" class="vector-toc-list-item vector-toc-level-1 vector-toc-list-item-expanded"> <a class="vector-toc-link" href="#Music_hall_comedy"> <div class="vector-toc-text"> 4 Music hall comedy </div> </a> <ul id="toc-Music_hall_comedy-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-Speciality_acts" class="vector-toc-list-item vector-toc-level-1 vector-toc-list-item-expanded"> <a class="vector-toc-link" href="#Speciality_acts"> <div class="vector-toc-text"> 5 Speciality acts </div> </a> <ul id="toc-Speciality_acts-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-Music_hall_performers" class="vector-toc-list-item vector-toc-level-1 vector-toc-list-item-expanded"> <a class="vector-toc-link" href="#Music_hall_performers"> <div class="vector-toc-text"> 6 Music hall performers </div> </a> <ul id="toc-Music_hall_performers-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-Cultural_influences_of_music_hall:_Literature,_drama,_screen,_and_later_music" class="vector-toc-list-item vector-toc-level-1 vector-toc-list-item-expanded"> <a class="vector-toc-link" href="#Cultural_influences_of_music_hall:_Literature,_drama,_screen,_and_later_music"> <div class="vector-toc-text"> 7 Cultural influences of music hall: Literature, drama, screen, and later music </div> </a> <ul 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id="toc-Further_reading" class="vector-toc-list-item vector-toc-level-1 vector-toc-list-item-expanded"> <a class="vector-toc-link" href="#Further_reading"> <div class="vector-toc-text"> 11 Further reading </div> </a> <ul id="toc-Further_reading-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-External_links" class="vector-toc-list-item vector-toc-level-1 vector-toc-list-item-expanded"> <a class="vector-toc-link" href="#External_links"> <div class="vector-toc-text"> 12 External links </div> </a> <ul id="toc-External_links-sublist" class="vector-toc-list"> </ul> </li> </ul> </div> </div> </nav> </div> </div> <div class="mw-content-container"> <main id="content" class="mw-body"> <header class="mw-body-header vector-page-titlebar"> <nav aria-label="Contents" class="vector-toc-landmark"> <div id="vector-page-titlebar-toc" class="vector-dropdown vector-page-titlebar-toc vector-button-flush-left" > <input type="checkbox" id="vector-page-titlebar-toc-checkbox" role="button" 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Available in 22 languages" > <label id="p-lang-btn-label" for="p-lang-btn-checkbox" class="vector-dropdown-label cdx-button cdx-button--fake-button cdx-button--fake-button--enabled cdx-button--weight-quiet cdx-button--action-progressive mw-portlet-lang-heading-22" aria-hidden="true" > 22 languages </label> <div class="vector-dropdown-content"> <div class="vector-menu-content"> <ul class="vector-menu-content-list"> <li class="interlanguage-link interwiki-ast mw-list-item"><a href="https://ast.wikipedia.org/wiki/Music_hall" title="Music hall – Asturian" lang="ast" hreflang="ast" data-title="Music hall" data-language-autonym="Asturianu" data-language-local-name="Asturian" class="interlanguage-link-target">Asturianu</a></li><li class="interlanguage-link interwiki-cy mw-list-item"><a href="https://cy.wikipedia.org/wiki/Neuadd_gerddoriaeth" title="Neuadd gerddoriaeth – Welsh" lang="cy" hreflang="cy" data-title="Neuadd gerddoriaeth" data-language-autonym="Cymraeg" data-language-local-name="Welsh" class="interlanguage-link-target">Cymraeg</a></li><li class="interlanguage-link interwiki-de mw-list-item"><a href="https://de.wikipedia.org/wiki/Music_Hall" title="Music Hall – German" lang="de" hreflang="de" data-title="Music Hall" data-language-autonym="Deutsch" data-language-local-name="German" class="interlanguage-link-target">Deutsch</a></li><li class="interlanguage-link interwiki-es mw-list-item"><a href="https://es.wikipedia.org/wiki/Music_hall" title="Music hall – Spanish" lang="es" hreflang="es" data-title="Music hall" data-language-autonym="Español" data-language-local-name="Spanish" class="interlanguage-link-target">Español</a></li><li class="interlanguage-link interwiki-eo mw-list-item"><a href="https://eo.wikipedia.org/wiki/Music_hall" title="Music hall – Esperanto" lang="eo" hreflang="eo" data-title="Music hall" data-language-autonym="Esperanto" data-language-local-name="Esperanto" class="interlanguage-link-target">Esperanto</a></li><li class="interlanguage-link interwiki-eu mw-list-item"><a href="https://eu.wikipedia.org/wiki/Music_hall" title="Music hall – Basque" lang="eu" hreflang="eu" data-title="Music hall" data-language-autonym="Euskara" data-language-local-name="Basque" class="interlanguage-link-target">Euskara</a></li><li class="interlanguage-link interwiki-fr mw-list-item"><a href="https://fr.wikipedia.org/wiki/Music-hall" title="Music-hall – French" lang="fr" hreflang="fr" data-title="Music-hall" data-language-autonym="Français" data-language-local-name="French" class="interlanguage-link-target">Français</a></li><li class="interlanguage-link interwiki-ko mw-list-item"><a href="https://ko.wikipedia.org/wiki/%EB%AE%A4%EC%A7%81%ED%99%80" title="뮤직홀 – Korean" lang="ko" hreflang="ko" data-title="뮤직홀" data-language-autonym="한국어" data-language-local-name="Korean" class="interlanguage-link-target">한국어</a></li><li class="interlanguage-link interwiki-hy mw-list-item"><a href="https://hy.wikipedia.org/wiki/%D5%84%D5%B5%D5%B8%D6%82%D5%A6%D5%AB%D6%84-%D5%B0%D5%B8%D5%AC%D5%AC" title="Մյուզիք-հոլլ – Armenian" lang="hy" hreflang="hy" data-title="Մյուզիք-հոլլ" data-language-autonym="Հայերեն" data-language-local-name="Armenian" class="interlanguage-link-target">Հայերեն</a></li><li class="interlanguage-link interwiki-id mw-list-item"><a href="https://id.wikipedia.org/wiki/Balai_musik" title="Balai musik – Indonesian" lang="id" hreflang="id" data-title="Balai musik" data-language-autonym="Bahasa Indonesia" data-language-local-name="Indonesian" class="interlanguage-link-target">Bahasa Indonesia</a></li><li class="interlanguage-link interwiki-it mw-list-item"><a href="https://it.wikipedia.org/wiki/Music-hall" title="Music-hall – Italian" lang="it" hreflang="it" data-title="Music-hall" data-language-autonym="Italiano" data-language-local-name="Italian" class="interlanguage-link-target">Italiano</a></li><li class="interlanguage-link interwiki-he mw-list-item"><a href="https://he.wikipedia.org/wiki/%D7%9E%D7%99%D7%95%D7%96%D7%99%D7%A7_%D7%94%D7%95%D7%9C" title="מיוזיק הול – Hebrew" lang="he" hreflang="he" data-title="מיוזיק הול" data-language-autonym="עברית" data-language-local-name="Hebrew" class="interlanguage-link-target">עברית</a></li><li class="interlanguage-link interwiki-ky mw-list-item"><a href="https://ky.wikipedia.org/wiki/%D0%9C%D1%8E%D0%B7%D0%B8%D0%BA-%D1%85%D0%BE%D0%BB%D0%BB" title="Мюзик-холл – Kyrgyz" lang="ky" hreflang="ky" data-title="Мюзик-холл" data-language-autonym="Кыргызча" data-language-local-name="Kyrgyz" class="interlanguage-link-target">Кыргызча</a></li><li class="interlanguage-link interwiki-ja mw-list-item"><a href="https://ja.wikipedia.org/wiki/%E3%83%9F%E3%83%A5%E3%83%BC%E3%82%B8%E3%83%83%E3%82%AF%E3%83%9B%E3%83%BC%E3%83%AB" title="ミュージックホール – Japanese" lang="ja" hreflang="ja" data-title="ミュージックホール" data-language-autonym="日本語" data-language-local-name="Japanese" class="interlanguage-link-target">日本語</a></li><li class="interlanguage-link interwiki-pl mw-list-item"><a href="https://pl.wikipedia.org/wiki/Music-hall" title="Music-hall – Polish" lang="pl" hreflang="pl" data-title="Music-hall" data-language-autonym="Polski" data-language-local-name="Polish" class="interlanguage-link-target">Polski</a></li><li class="interlanguage-link interwiki-pt mw-list-item"><a href="https://pt.wikipedia.org/wiki/Music_hall" title="Music hall – Portuguese" lang="pt" hreflang="pt" data-title="Music hall" data-language-autonym="Português" data-language-local-name="Portuguese" class="interlanguage-link-target">Português</a></li><li class="interlanguage-link interwiki-ru mw-list-item"><a href="https://ru.wikipedia.org/wiki/%D0%9C%D1%8E%D0%B7%D0%B8%D0%BA-%D1%85%D0%BE%D0%BB%D0%BB" title="Мюзик-холл – Russian" lang="ru" hreflang="ru" data-title="Мюзик-холл" data-language-autonym="Русский" data-language-local-name="Russian" class="interlanguage-link-target">Русский</a></li><li class="interlanguage-link interwiki-sr mw-list-item"><a href="https://sr.wikipedia.org/wiki/%D0%9C%D1%98%D1%83%D0%B7%D0%B8%D0%BA%D1%85%D0%BE%D0%BB" title="Мјузикхол – Serbian" lang="sr" hreflang="sr" data-title="Мјузикхол" data-language-autonym="Српски / srpski" data-language-local-name="Serbian" class="interlanguage-link-target">Српски / srpski</a></li><li class="interlanguage-link interwiki-fi mw-list-item"><a href="https://fi.wikipedia.org/wiki/Music_hall" title="Music hall – Finnish" lang="fi" hreflang="fi" data-title="Music hall" data-language-autonym="Suomi" data-language-local-name="Finnish" class="interlanguage-link-target">Suomi</a></li><li class="interlanguage-link interwiki-ta mw-list-item"><a href="https://ta.wikipedia.org/wiki/%E0%AE%AE%E0%AE%BF%E0%AE%AF%E0%AF%82%E0%AE%9A%E0%AE%BF%E0%AE%95%E0%AF%8D_%E0%AE%B9%E0%AE%BE%E0%AE%B2%E0%AF%8D" title="மியூசிக் ஹால் – Tamil" lang="ta" hreflang="ta" data-title="மியூசிக் ஹால்" data-language-autonym="தமிழ்" data-language-local-name="Tamil" class="interlanguage-link-target">தமிழ்</a></li><li class="interlanguage-link interwiki-uk mw-list-item"><a href="https://uk.wikipedia.org/wiki/%D0%9C%D1%8E%D0%B7%D0%B8%D0%BA-%D1%85%D0%BE%D0%BB" title="Мюзик-хол – Ukrainian" lang="uk" hreflang="uk" data-title="Мюзик-хол" data-language-autonym="Українська" data-language-local-name="Ukrainian" class="interlanguage-link-target">Українська</a></li><li class="interlanguage-link interwiki-vi mw-list-item"><a href="https://vi.wikipedia.org/wiki/Nh%C3%A0_h%C3%A1t_ca_m%C3%BAa_nh%E1%BA%A1c" title="Nhà hát ca múa nhạc – Vietnamese" lang="vi" hreflang="vi" data-title="Nhà hát ca múa nhạc" data-language-autonym="Tiếng Việt" data-language-local-name="Vietnamese" class="interlanguage-link-target">Tiếng Việt</a></li> </ul> <div class="after-portlet after-portlet-lang"><a href="https://www.wikidata.org/wiki/Special:EntityPage/Q940462#sitelinks-wikipedia" title="Edit interlanguage links" class="wbc-editpage">Edit links</a></div> </div> </div> </div> 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data-mw-ve-target-container> <div class="vector-body-before-content"> <div class="mw-indicators"> </div> <div id="siteSub" class="noprint">From Wikipedia, the free encyclopedia</div> </div> <div id="contentSub"><div id="mw-content-subtitle"></div></div> <div id="mw-content-text" class="mw-body-content"><div class="mw-content-ltr mw-parser-output" lang="en" dir="ltr"><div class="shortdescription nomobile noexcerpt noprint searchaux" style="display:none">Type of British theatrical entertainment popular between 1850 and 1960</div> <style data-mw-deduplicate="TemplateStyles:r1236090951">.mw-parser-output .hatnote{font-style:italic}.mw-parser-output div.hatnote{padding-left:1.6em;margin-bottom:0.5em}.mw-parser-output .hatnote i{font-style:normal}.mw-parser-output .hatnote+link+.hatnote{margin-top:-0.5em}@media print{body.ns-0 .mw-parser-output .hatnote{display:none!important}}</style><div role="note" class="hatnote navigation-not-searchable">This article is about the British form of theatre and the venues associated with it. For halls used for musical performances, see <a href="/wiki/Concert_hall" class="mw-redirect" title="Concert hall">Concert hall</a>. For other uses of the term, see <a href="/wiki/Music_Hall_(disambiguation)" class="mw-disambig" title="Music Hall (disambiguation)">Music Hall (disambiguation)</a>.</div> <style data-mw-deduplicate="TemplateStyles:r1129693374">.mw-parser-output .hlist dl,.mw-parser-output .hlist ol,.mw-parser-output .hlist ul{margin:0;padding:0}.mw-parser-output .hlist dd,.mw-parser-output .hlist dt,.mw-parser-output .hlist li{margin:0;display:inline}.mw-parser-output .hlist.inline,.mw-parser-output .hlist.inline dl,.mw-parser-output .hlist.inline ol,.mw-parser-output .hlist.inline ul,.mw-parser-output .hlist dl dl,.mw-parser-output .hlist dl ol,.mw-parser-output .hlist dl ul,.mw-parser-output .hlist ol dl,.mw-parser-output .hlist ol ol,.mw-parser-output .hlist ol ul,.mw-parser-output .hlist ul dl,.mw-parser-output .hlist ul ol,.mw-parser-output .hlist ul ul{display:inline}.mw-parser-output .hlist .mw-empty-li{display:none}.mw-parser-output .hlist dt::after{content:": "}.mw-parser-output .hlist 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.infobox-full-data:not(.notheme)>div:not(.notheme)[style]{background:#1f1f23!important;color:#f8f9fa}}@media screen and (prefers-color-scheme:dark){html.skin-theme-clientpref-os .mw-parser-output .infobox-full-data:not(.notheme) div:not(.notheme){background:#1f1f23!important;color:#f8f9fa}}@media(min-width:640px){body.skin--responsive .mw-parser-output .infobox-table{display:table!important}body.skin--responsive .mw-parser-output .infobox-table>caption{display:table-caption!important}body.skin--responsive .mw-parser-output .infobox-table>tbody{display:table-row-group}body.skin--responsive .mw-parser-output .infobox-table tr{display:table-row!important}body.skin--responsive .mw-parser-output .infobox-table th,body.skin--responsive .mw-parser-output .infobox-table td{padding-left:inherit;padding-right:inherit}}</style><table class="infobox nowraplinks"><tbody><tr><th colspan="2" class="infobox-above">Music hall</th></tr><tr><td colspan="2" class="infobox-image"><a href="/wiki/File:1830_Eagle_Tavern.jpg" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/5/58/1830_Eagle_Tavern.jpg/220px-1830_Eagle_Tavern.jpg" decoding="async" width="220" height="145" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/5/58/1830_Eagle_Tavern.jpg/330px-1830_Eagle_Tavern.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/5/58/1830_Eagle_Tavern.jpg/440px-1830_Eagle_Tavern.jpg 2x" data-file-width="700" data-file-height="461" /></a><div class="infobox-caption">The Eagle Tavern in 1830</div></td></tr><tr><th scope="row" class="infobox-label">Stylistic origins</th><td class="infobox-data hlist">Building:<link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1129693374"><div class="hlist"><ul><li><a href="/wiki/Song_and_supper_room" title="Song and supper room">Song and supper room</a></li></ul></div> Music and performance:<link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1129693374"><div class="hlist"><ul><li>Variety show</li><li><a href="/wiki/Vaudeville" title="Vaudeville">Vaudeville</a></li></ul></div></td></tr><tr><th scope="row" class="infobox-label">Cultural origins</th><td class="infobox-data hlist">18th century, <a href="/wiki/United_Kingdom" title="United Kingdom">United Kingdom</a></td></tr><tr><th colspan="2" class="infobox-header">Other topics</th></tr><tr><td colspan="2" class="infobox-full-data hlist"><a href="/wiki/Pantomime" title="Pantomime">Pantomime</a></td></tr></tbody></table> <figure class="mw-default-size" typeof="mw:File/Thumb"><a href="/wiki/File:1875_Oxford_Music_Hall.jpg" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/4/46/1875_Oxford_Music_Hall.jpg/220px-1875_Oxford_Music_Hall.jpg" decoding="async" width="220" height="257" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/4/46/1875_Oxford_Music_Hall.jpg/330px-1875_Oxford_Music_Hall.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/4/46/1875_Oxford_Music_Hall.jpg/440px-1875_Oxford_Music_Hall.jpg 2x" data-file-width="700" data-file-height="817" /></a><figcaption>The Oxford Music Hall, c. 1875</figcaption></figure> Music hall is a type of British theatrical entertainment that was most popular from the early <a href="/wiki/Victorian_era" title="Victorian era">Victorian era</a>, beginning around 1850, through the <a href="/wiki/World_War_I" title="World War I">Great War</a>. It faded away after 1918 as the halls rebranded their entertainment as variety.<a href="#cite_note-1">[1]</a> Perceptions of a distinction in Britain between bold and scandalous music hall entertainment and subsequent, more respectable <a href="/wiki/Variety_show" title="Variety show">variety</a> entertainment differ. Music hall involved a mixture of popular songs, comedy, speciality acts, and variety entertainment.<a href="#cite_note-2">[2]</a> The term is derived from a type of theatre or venue in which such entertainment took place. In North America <a href="/wiki/Vaudeville" title="Vaudeville">vaudeville</a> was in some ways analogous to British music hall,<a href="#cite_note-3">[3]</a> featuring rousing songs and comic acts. Originating in saloon bars within pubs during the 1830s, music hall entertainment became increasingly popular with audiences. So much so, that during the 1850s some public houses were demolished, and specialised music hall theatres developed in their place. These theatres were designed chiefly so that people could consume food and alcohol and smoke tobacco in the auditorium while the entertainment took place, with the cheapest seats located in the gallery.<a href="#cite_note-4">[4]</a> This differed from the conventional type of theatre, which seats the audience in stalls with a separate bar-room.<a href="#cite_note-5">[5]</a> Major music halls were based around London. Early examples included: the <a href="/wiki/Canterbury_Music_Hall" title="Canterbury Music Hall">Canterbury Music Hall</a> in <a href="/wiki/Lambeth" title="Lambeth">Lambeth</a>, <a href="/wiki/Wilton%27s_Music_Hall" title="Wilton's Music Hall">Wilton's Music Hall</a> in <a href="/wiki/London_Borough_of_Tower_Hamlets" title="London Borough of Tower Hamlets">Tower Hamlets</a>, and The Middlesex in <a href="/wiki/Drury_Lane" title="Drury Lane">Drury Lane</a>, otherwise known as the Old Mo. By the mid-19th century, the halls cried out for many new and catchy songs. As a result professional songwriters were enlisted to provide the music for a plethora of star performers, such as <a href="/wiki/Marie_Lloyd" title="Marie Lloyd">Marie Lloyd</a>, <a href="/wiki/Dan_Leno" title="Dan Leno">Dan Leno</a>, <a href="/wiki/Little_Tich" title="Little Tich">Little Tich</a>, and <a href="/wiki/George_Leybourne" title="George Leybourne">George Leybourne</a>. All manner of other entertainment was performed: male and female impersonators, <a href="/wiki/Lion_comique" title="Lion comique">lions comiques</a>, mime artists and impressionists, trampoline acts, and comic pianists (such as <a href="/wiki/John_Orlando_Parry" title="John Orlando Parry">John Orlando Parry</a> and <a href="/wiki/George_Grossmith" title="George Grossmith">George Grossmith</a>) were just a few of the many types of entertainments the audiences could expect to find over the next forty years.<a href="#cite_note-6">[6]</a> The <a href="/wiki/Music_Hall_Strike_of_1907" title="Music Hall Strike of 1907">Music Hall Strike of 1907</a> was an important industrial conflict. It was a dispute between artists and stage hands on one hand, and theatre managers on the other.<a href="#cite_note-7">[7]</a> The halls had recovered by the start of the First World War and were used to stage charity events in aid of the war effort. Music hall entertainment continued after the war, but became less popular due to upcoming <a href="/wiki/Jazz" title="Jazz">jazz</a>, <a href="/wiki/Swing_music" title="Swing music">swing</a>, and <a href="/wiki/Big-band" class="mw-redirect" title="Big-band">big-band</a> dance music acts. Licensing restrictions had also changed, and <a href="/wiki/Prohibition" title="Prohibition">drinking was banned</a> from the auditorium. A new type of music hall entertainment had arrived, in the form of variety, and many music hall performers failed to make the transition. They were deemed old-fashioned, and with the closure of many halls, music hall entertainment ceased and modern-day variety began.<a href="#cite_note-8">[8]</a> <meta property="mw:PageProp/toc" /> <div class="mw-heading mw-heading2"><h2 id="Origins_and_development">Origins and development</h2>[<a href="/w/index.php?title=Music_hall&action=edit&section=1" title="Edit section: Origins and development">edit</a>]</div> Music-halls had their origins in 18th century London.<a href="#cite_note-9">[9]</a> They grew with the entertainment provided in the new style saloon bars of pubs during the 1830s. These venues replaced earlier semi-rural amusements provided by fairs and suburban <a href="/wiki/Pleasure_garden" title="Pleasure garden">pleasure gardens</a> such as <a href="/wiki/Vauxhall_Gardens" title="Vauxhall Gardens">Vauxhall Gardens</a> and the <a href="/wiki/Cremorne_Gardens,_London" title="Cremorne Gardens, London">Cremorne Gardens</a>. These latter became subject to urban development and became fewer and less popular.<a href="#cite_note-Howard-10">[10]</a> From the mid-19th century music halls spread to the provincial cities, such as Bristol.<a href="#cite_note-11">[11]</a> The saloon was a room where for an admission fee or a greater price at the bar, singing, dancing, drama or comedy was performed. The most famous London saloon of the early days was the <a href="/wiki/Royal_Grecian_Theatre" title="Royal Grecian Theatre">Grecian Saloon</a>, established in 1825, at The Eagle (a former tea-garden), 2 Shepherdess Walk, off the <a href="/wiki/City_Road" title="City Road">City Road</a> in east London.<a href="#cite_note-12">[12]</a> According to <a href="/wiki/John_Hollingshead" title="John Hollingshead">John Hollingshead</a>, proprietor of the <a href="/wiki/Gaiety_Theatre,_London" title="Gaiety Theatre, London">Gaiety Theatre, London</a> (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 <a href="/wiki/Marie_Lloyd" title="Marie Lloyd">Marie Lloyd</a> 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 In and out The Eagle That's the way the money goes <a href="/wiki/Pop_goes_the_weasel" class="mw-redirect" title="Pop goes the weasel">Pop goes the weasel</a>.<a href="#cite_note-13">[13]</a></blockquote> <figure class="mw-default-size mw-halign-left" typeof="mw:File/Thumb"><a href="/wiki/File:Wilton%27s_Music_Hall_-_Interior.jpg" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/b/b4/Wilton%27s_Music_Hall_-_Interior.jpg/220px-Wilton%27s_Music_Hall_-_Interior.jpg" decoding="async" width="220" height="146" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/b/b4/Wilton%27s_Music_Hall_-_Interior.jpg/330px-Wilton%27s_Music_Hall_-_Interior.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/b/b4/Wilton%27s_Music_Hall_-_Interior.jpg/440px-Wilton%27s_Music_Hall_-_Interior.jpg 2x" data-file-width="3008" data-file-height="2000" /></a><figcaption>The interior of <a href="/wiki/Wilton%27s_Music_Hall" title="Wilton's Music Hall">Wilton's Music Hall</a> (here, being set for a wedding). The line of tables give some idea of how early music halls were used as supper clubs.</figcaption></figure> Another famous <a href="/wiki/Song_and_supper_room" title="Song and supper room">"song and supper" room</a> of this period was <a href="/wiki/Evans_Music-and-Supper_Rooms" title="Evans Music-and-Supper Rooms">Evans Music-and-Supper Rooms</a>, 43 King Street, <a href="/wiki/Covent_Garden" title="Covent Garden">Covent Garden</a>, 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 <a href="/wiki/Coal_Hole,_Strand" title="Coal Hole, Strand">Coal Hole</a> in <a href="/wiki/Strand,_London" title="Strand, London">The Strand</a>, the Cyder Cellars in Maiden Lane, Covent Garden and the Mogul Saloon in <a href="/wiki/Drury_Lane" title="Drury Lane">Drury Lane</a>.<a href="#cite_note-Howard-10">[10]</a> The music hall as we know it developed from such establishments during the 1850s and were built 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. An exception to this rule was the <a href="/wiki/Britannia_Theatre" title="Britannia Theatre">Britannia Theatre</a>, <a href="/wiki/Hoxton" title="Hoxton">Hoxton</a> (1841) which somehow managed to evade this regulation and served drinks to its customers. Though a theatre rather than a music hall, this establishment later hosted music-hall variety acts.<a href="#cite_note-making-14">[14]</a><div style="clear:both;" class=""></div> <div class="mw-heading mw-heading3"><h3 id="Early_music_halls">Early music halls</h3>[<a href="/w/index.php?title=Music_hall&action=edit&section=2" title="Edit section: Early music halls">edit</a>]</div> <figure class="mw-default-size" typeof="mw:File/Thumb"><a href="/wiki/File:Canterbury_Hall_circa_1856.jpg" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/5/56/Canterbury_Hall_circa_1856.jpg/220px-Canterbury_Hall_circa_1856.jpg" decoding="async" width="220" height="167" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/5/56/Canterbury_Hall_circa_1856.jpg/330px-Canterbury_Hall_circa_1856.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/5/56/Canterbury_Hall_circa_1856.jpg/440px-Canterbury_Hall_circa_1856.jpg 2x" data-file-width="700" data-file-height="530" /></a><figcaption>Interior of the <a href="/wiki/Canterbury_Music_Hall" title="Canterbury Music Hall">Canterbury Hall</a>, opened 1852 in <a href="/wiki/Lambeth" title="Lambeth">Lambeth</a></figcaption></figure> The establishment often regarded as the first true music hall was the <a href="/wiki/Canterbury_Music_Hall" title="Canterbury Music Hall">Canterbury</a>, 143 <a href="/wiki/Westminster_Bridge_Road" title="Westminster Bridge Road">Westminster Bridge Road</a>, <a href="/wiki/Lambeth" title="Lambeth">Lambeth</a> built by <a href="/wiki/Charles_Morton_(impresario)" title="Charles Morton (impresario)">Charles Morton</a>, 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 and was described by the musician and author <a href="/wiki/Benny_Green_(saxophonist)" title="Benny Green (saxophonist)">Benny Green</a> as being "the most significant date in all the history of music hall".<a href="#cite_note-15">[15]</a> The 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 German bombing in 1942.<a href="#cite_note-16">[16]</a> The Canterbury Hall became a model for music halls in other cities too, such as the <a href="/wiki/Bristol" title="Bristol">Bristol</a> Canterbury, which was built in 1850s as the first purpose-built music hall in the city.<a href="#cite_note-17">[17]</a> Another early music hall was The Middlesex, <a href="/wiki/Drury_Lane" title="Drury Lane">Drury Lane</a> (1851). Popularly known as the 'Old Mo', it was built on the site of the Mogul Saloon. Later converted into a theatre it was demolished in 1965. The <a href="/wiki/New_London_Theatre" class="mw-redirect" title="New London Theatre">New London Theatre</a> stands on its site.<a href="#cite_note-18">[18]</a> Several large music halls were built in the <a href="/wiki/East_End_of_London" title="East End of London">East End</a>. These included the London Music Hall, otherwise known as The Shoreditch Empire, 95–99 <a href="/wiki/Shoreditch_High_Street" title="Shoreditch High Street">Shoreditch High Street</a>, (1856–1935). This theatre was rebuilt during 1894 by <a href="/wiki/Frank_Matcham" title="Frank Matcham">Frank Matcham</a>, the architect of the <a href="/wiki/Hackney_Empire" title="Hackney Empire">Hackney Empire</a>.<a href="#cite_note-19">[19]</a> Another in this area was the Royal Cambridge Music Hall, 136 <a href="/wiki/Commercial_Street,_London" title="Commercial Street, London">Commercial Street</a> (1864–1936). Designed by <a href="/wiki/Finch_Hill" title="Finch Hill">William Finch Hill</a> (the designer of the Britannia theatre in nearby Hoxton), it was rebuilt after a fire in 1898.<a href="#cite_note-20">[20]</a> <figure class="mw-default-size" typeof="mw:File/Thumb"><a href="/wiki/File:Spencer_Gore_Balcony_at_the_Alhambra_1910-11.jpg" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/b/bd/Spencer_Gore_Balcony_at_the_Alhambra_1910-11.jpg/220px-Spencer_Gore_Balcony_at_the_Alhambra_1910-11.jpg" decoding="async" width="220" height="301" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/b/bd/Spencer_Gore_Balcony_at_the_Alhambra_1910-11.jpg/330px-Spencer_Gore_Balcony_at_the_Alhambra_1910-11.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/b/bd/Spencer_Gore_Balcony_at_the_Alhambra_1910-11.jpg/440px-Spencer_Gore_Balcony_at_the_Alhambra_1910-11.jpg 2x" data-file-width="500" data-file-height="685" /></a><figcaption>Balcony at the Alhambra by <a href="/wiki/Spencer_Gore_(artist)" title="Spencer Gore (artist)">Spencer Gore</a>; 1910–11</figcaption></figure> The construction of <a href="/wiki/Weston%27s_Music_Hall" title="Weston's Music Hall">Weston's Music Hall</a>, <a href="/wiki/High_Holborn" title="High Holborn">High Holborn</a> (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 <a href="/wiki/West_End_of_London" title="West End of London">West End</a> was fruitful territory for the music hall. During 1906 it was rebuilt as a variety theatre and renamed as the <a href="/wiki/Holborn_Empire" class="mw-redirect" title="Holborn Empire">Holborn Empire</a>. It was closed as a result of German action in <a href="/wiki/The_Blitz" title="The Blitz">the Blitz</a> on the night of 11–12 May 1941 and the building was pulled down in 1960.<a href="#cite_note-BL-21">[21]</a> Significant West End music halls include: <ul><li>The <a href="/wiki/Oxford_Music_Hall" title="Oxford Music Hall">Oxford Music Hall</a>, 14/16 <a href="/wiki/Oxford_Street" title="Oxford Street">Oxford Street</a> (1861) – built 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 <a href="/wiki/West_End_of_London" title="West End of London">West End</a>. Demolished in 1926.<a href="#cite_note-22">[22]</a></li> <li>The <a href="/wiki/London_Pavilion" title="London Pavilion">London Pavilion</a> (1861). <a href="/wiki/Facade" class="mw-redirect" title="Facade">Facade</a> of 1885 rebuild still extant.<a href="#cite_note-23">[23]</a></li> <li>The <a href="/wiki/Alhambra_Theatre_of_Variety" class="mw-redirect" title="Alhambra Theatre of Variety">Alhambra Theatre of Variety</a> (1860) in London, which became a model for Parisian music halls. Some years before the <a href="/wiki/Folies-Bergere" class="mw-redirect" title="Folies-Bergere">Folies-Bergere</a> it staged circus attractions alongside <a href="/wiki/Ballet" title="Ballet">popular ballets</a> in 55 new productions between 1864 and 1870.<a href="#cite_note-24">[24]</a></li></ul> <figure class="mw-default-size" typeof="mw:File/Thumb"><a href="/wiki/File:Little_Dot_Hetherington_at_the_Old_Bedford.png" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/7/75/Little_Dot_Hetherington_at_the_Old_Bedford.png/220px-Little_Dot_Hetherington_at_the_Old_Bedford.png" decoding="async" width="220" height="220" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/7/75/Little_Dot_Hetherington_at_the_Old_Bedford.png/330px-Little_Dot_Hetherington_at_the_Old_Bedford.png 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/7/75/Little_Dot_Hetherington_at_the_Old_Bedford.png/440px-Little_Dot_Hetherington_at_the_Old_Bedford.png 2x" data-file-width="911" data-file-height="913" /></a><figcaption>Little Dot Hetherington at the Old Bedford by <a href="/wiki/Walter_Sickert" title="Walter Sickert">Walter Sickert</a>; <abbr title="circa">c.</abbr> 1888</figcaption></figure> Other large suburban music halls included: <ul><li>The Bedford, 93–95 High Street, <a href="/wiki/Camden_Town" title="Camden Town">Camden Town</a>, constructed on the site of the tea gardens of a pub called the Bedford Arms. The first building, the Bedford Music Hall (“The Old Bedford”), opened in 1861 and closed in 1898. It was demolished and rebuilt as the larger Bedford Palace of Varieties also known as the Bedford Theatre (“The New Bedford”), which opened in 1899 and operated until 1959. The Bedford was a favourite haunt of the artist <a href="/wiki/Walter_Sickert" title="Walter Sickert">Walter Sickert</a>, who featured interior scenes of music halls in many of his paintings, including one entitled 'Little Dot Hetherington at The Old Bedford'. The Bedford was derelict from 1959 and finally demolished in 1969.<a href="#cite_note-25">[25]</a></li> <li><a href="/wiki/Collins%27s_Music_Hall" title="Collins's Music Hall">Collins's</a> or Collins', <a href="/wiki/Islington_Green" title="Islington Green">Islington Green</a> (1863). Opened by <a href="/wiki/Sam_Collins_(music_hall)" title="Sam Collins (music hall)">Sam Collins</a> on 4 November 1863 after he had converted the pre-existing Lansdowne Arms and Music Hall public house.<a href="#cite_note-26">[26]</a> 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).<a href="#cite_note-27">[27]</a></li> <li>Deacons in <a href="/wiki/Clerkenwell" title="Clerkenwell">Clerkenwell</a> (1862).</li></ul> A noted music hall entrepreneur of this time was <a href="/wiki/Carlo_Gatti" title="Carlo Gatti">Carlo Gatti</a> who built a music hall, known as Gatti's, at <a href="/wiki/Hungerford_Market" title="Hungerford Market">Hungerford Market</a> in 1857. He sold the music hall to <a href="/wiki/South_Eastern_Railway_(England)" title="South Eastern Railway (England)">South Eastern Railway</a> in 1862, and the site became <a href="/wiki/Charing_Cross_railway_station" title="Charing Cross railway station">Charing Cross railway station</a>. With the proceeds from selling his first music hall, Gatti acquired a restaurant in <a href="/wiki/Westminster_Bridge_Road" title="Westminster Bridge Road">Westminster Bridge Road</a>, 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 Second World War, and was demolished in 1950. In 1867, he acquired a <a href="/wiki/Public_house" class="mw-redirect" title="Public house">public house</a> in <a href="/wiki/Villiers_Street" title="Villiers Street">Villiers Street</a> 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 "<a href="/wiki/Charing_Cross_Music_Hall" title="Charing Cross Music Hall">Gatti's-in-The-Arches</a>". 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 <a href="/wiki/Players%27_Theatre" title="Players' Theatre">Players' Theatre</a> in 1946.<a href="#cite_note-28">[28]</a> By 1865, there were 32 music halls in London seating between 500 and 5,000 people plus an unknown, but large, number of smaller venues. Numbers peaked in 1878, with 78 large music halls in the metropolis and 300 smaller venues. Thereafter numbers declined due to stricter licensing restrictions imposed by the <a href="/wiki/Metropolitan_Board_of_Works" title="Metropolitan Board of Works">Metropolitan Board of Works</a> and <a href="/wiki/London_County_Council" title="London County Council">London County Council</a>, and because of commercial competition between popular large suburban halls and the smaller venues, which put the latter out of business.<a href="#cite_note-29">[29]</a> A few of the UK's music halls have survived and have retained many of their original features. Among the best examples are: <ul><li><a href="/wiki/Victoria_Hall,_Settle" class="mw-redirect" title="Victoria Hall, Settle">Victoria Hall, Settle</a> is a <a href="/wiki/Grade_II" class="mw-redirect" title="Grade II">Grade II</a> listed concert hall in Kirkgate, <a href="/wiki/Settle,_North_Yorkshire" title="Settle, North Yorkshire">Settle, North Yorkshire</a>, <a href="/wiki/England" title="England">England</a>. It is the UK's oldest surviving music hall having opened as Settle Music Hall on 11 October 1853. The Music Hall was renamed 'The Victoria Hall' around November 1892.</li> <li><a href="/wiki/Wilton%27s_Music_Hall" title="Wilton's Music Hall">Wilton's Music Hall</a> is a <a href="/wiki/Grade_II" class="mw-redirect" title="Grade II">Grade II</a> <a href="/wiki/Listed_building" title="Listed building">listed building</a> in <a href="/wiki/Shadwell" title="Shadwell">Shadwell</a>, built by John Wilton in 1859 as a music hall and now run as a multi-arts performance space in Graces Alley, off <a href="/wiki/Cable_Street" title="Cable Street">Cable Street</a> in the London Borough of <a href="/wiki/Tower_Hamlets" class="mw-redirect" title="Tower Hamlets">Tower Hamlets</a>.</li> <li>The <a href="/wiki/Britannia_Music_Hall" title="Britannia Music Hall">Britannia Music Hall</a> (later known as The Panopticon or The Britannia Panopticon) in <a href="/wiki/Trongate" title="Trongate">Trongate</a>, <a href="/wiki/Glasgow" title="Glasgow">Glasgow</a>, <a href="/wiki/Scotland" title="Scotland">Scotland</a> was built in 1857/58 and is located above an amusement arcade at 113-117 Trongate.</li></ul> <div class="mw-heading mw-heading3"><h3 id="Variety_theatre">Variety theatre</h3>[<a href="/w/index.php?title=Music_hall&action=edit&section=3" title="Edit section: Variety theatre">edit</a>]</div> A new era of <a href="/wiki/Variety_theatre" class="mw-redirect" title="Variety theatre">variety theatre</a> was developed by the rebuilding of the <a href="/wiki/London_Pavilion" title="London Pavilion">London Pavilion</a> in 1885. Contemporary accounts noted: <style data-mw-deduplicate="TemplateStyles:r1244412712">.mw-parser-output .templatequote{overflow:hidden;margin:1em 0;padding:0 32px}.mw-parser-output .templatequotecite{line-height:1.5em;text-align:left;margin-top:0}@media(min-width:500px){.mw-parser-output .templatequotecite{padding-left:1.6em}}</style><blockquote class="templatequote">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<div class="templatequotecite">— <cite>Charles Stuart and A. J. Park The Variety Stage (1895)</cite></div></blockquote> One of the most famous of these new palaces of pleasure in the West End was the <a href="/wiki/Empire,_Leicester_Square" title="Empire, Leicester Square">Empire, Leicester Square</a>, built as a theatre in 1884 but acquiring a music hall licence in 1887. Like the nearby Alhambra this theatre appealed to the men of leisure 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 <a href="/wiki/Strand,_London" title="Strand, London">Strand</a> built 1888–90 in an eclectic neo-Romanesque style with Baroque and Moorish-Indian embellishments. "<a href="/wiki/The_Tivoli" title="The Tivoli">The Tivoli</a>" became a brand name for music-halls all over the British Empire.<a href="#cite_note-30">[30]</a> During 1892, the Royal English Opera House, which had been a financial failure in <a href="/wiki/Shaftesbury_Avenue" title="Shaftesbury Avenue">Shaftesbury Avenue</a>, applied for a music hall licence and was converted by <a href="/wiki/Walter_Emden" title="Walter Emden">Walter Emden</a> into a grand music hall and renamed the <a href="/wiki/Palace_Theatre,_London" title="Palace Theatre, London">Palace Theatre of Varieties</a>, managed by <a href="/wiki/Charles_Morton_(impresario)" title="Charles Morton (impresario)">Charles Morton</a>.<a href="#cite_note-31">[31]</a> Denied by the newly created <a href="/wiki/London_County_Council" title="London County Council">LCC</a> 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 <a href="/wiki/Tableau_vivant" title="Tableau vivant">tableaux vivants</a>, 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.<a href="#cite_note-32">[32]</a> One of the grandest of these new halls was the <a href="/wiki/Coliseum_Theatre" class="mw-redirect" title="Coliseum Theatre">Coliseum Theatre</a> built by <a href="/wiki/Oswald_Stoll" title="Oswald Stoll">Oswald Stoll</a> in 1904 at the bottom of <a href="/wiki/St_Martin%27s_Lane" title="St Martin's Lane">St Martin's Lane</a>.<a href="#cite_note-33">[33]</a> This was followed by the <a href="/wiki/London_Palladium" title="London Palladium">London Palladium</a> (1910) in <a href="/wiki/Argyll_Street" title="Argyll Street">Argyll Street</a>. Both were designed by the prolific <a href="/wiki/Frank_Matcham" title="Frank Matcham">Frank Matcham</a>.<a href="#cite_note-34">[34]</a> As music hall grew in popularity and respectability, and as the licensing authorities exercised ever firmer regulation,<a href="#cite_note-35">[35]</a> the original arrangement of a large hall with tables at which drink was served, changed to that of a drink-free <a href="/wiki/Auditorium" title="Auditorium">auditorium</a>. The acceptance of music hall as a legitimate cultural form was established by the first <a href="/wiki/Royal_Variety_Performance" title="Royal Variety Performance">Royal Variety Performance</a> before King <a href="/wiki/George_V_of_the_United_Kingdom" class="mw-redirect" title="George V of the United Kingdom">George V</a> during 1912 at the Palace Theatre. However, consistent with this new respectability the best-known music hall entertainer of the time, <a href="/wiki/Marie_Lloyd" title="Marie Lloyd">Marie Lloyd</a>, was not invited, being deemed too "saucy" for presentation to the monarchy.<a href="#cite_note-36">[36]</a> <div class="mw-heading mw-heading3"><h3 id="'Music_Hall_War'_of_1907">'Music Hall War' of 1907</h3>[<a href="/w/index.php?title=Music_hall&action=edit&section=4" title="Edit section: 'Music Hall War' of 1907">edit</a>]</div> <figure class="mw-default-size mw-halign-right" typeof="mw:File/Thumb"><a href="/wiki/File:1907_Music_hall_strike_poster.jpg" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/a/aa/1907_Music_hall_strike_poster.jpg/170px-1907_Music_hall_strike_poster.jpg" decoding="async" width="170" height="236" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/a/aa/1907_Music_hall_strike_poster.jpg/255px-1907_Music_hall_strike_poster.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/a/aa/1907_Music_hall_strike_poster.jpg/340px-1907_Music_hall_strike_poster.jpg 2x" data-file-width="700" data-file-height="972" /></a><figcaption>1907 poster from the Music Hall War between artists and theatre managers</figcaption></figure> The development of syndicates controlling a number of theatres, such as the Stoll circuit, increased tensions between employees and employers. On 22 January 1907, a dispute between artists, stage hands and managers of the <a href="/wiki/Holborn_Empire" class="mw-redirect" title="Holborn Empire">Holborn Empire</a> worsened. 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.<a href="#cite_note-37">[37]</a> It became extremely well known, and was advocated enthusiastically by the main spokesmen of the trade union and Labour movement – <a href="/wiki/Ben_Tillett" title="Ben Tillett">Ben Tillett</a> and <a href="/wiki/Keir_Hardie" title="Keir Hardie">Keir Hardie</a> for example. Picket lines were organized outside the theatres by the artistes, while in the provinces theatre management attempted to oblige artistes to sign a document promising never to join a trade union. The strike ended in arbitration, which satisfied most of the main demands, including a minimum wage and maximum working week for musicians. Several music hall entertainers such as <a href="/wiki/Marie_Dainton" title="Marie Dainton">Marie Dainton</a>, <a href="/wiki/Marie_Lloyd" title="Marie Lloyd">Marie Lloyd</a>, <a href="/wiki/Arthur_Roberts_(comedian)" title="Arthur Roberts (comedian)">Arthur Roberts</a>, <a href="/wiki/Joe_Elvin" title="Joe Elvin">Joe Elvin</a> and <a href="/wiki/Gus_Elen" title="Gus Elen">Gus Elen</a> were strong advocates of the strike, though they themselves earned enough not to be concerned personally in a material sense.<a href="#cite_note-38">[38]</a> Lloyd explained her advocacy:<link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1244412712"><blockquote class="templatequote">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.<div class="templatequotecite">— <cite>Marie Lloyd, on the Music Hall War<a href="#cite_note-39">[39]</a><a href="#cite_note-40">[40]</a></cite></div></blockquote> <div class="mw-heading mw-heading3"><h3 id="Recruiting">Recruiting</h3>[<a href="/w/index.php?title=Music_hall&action=edit&section=5" title="Edit section: Recruiting">edit</a>]</div> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1236090951"><div role="note" class="hatnote navigation-not-searchable">See also: <a href="/wiki/Recruitment_to_the_British_Army_during_the_First_World_War" class="mw-redirect" title="Recruitment to the British Army during the First World War">Recruitment to the British Army during the First World War</a></div> <figure class="mw-default-size" typeof="mw:File/Thumb"><a href="/wiki/File:Women_of_Britain_Say_-_%22Go%22_-_World_War_I_British_poster_by_the_Parliamentary_Recruiting_Committee,_art_by_E_J_Kealey_(Restoration).jpg" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/1/19/Women_of_Britain_Say_-_%22Go%22_-_World_War_I_British_poster_by_the_Parliamentary_Recruiting_Committee%2C_art_by_E_J_Kealey_%28Restoration%29.jpg/170px-Women_of_Britain_Say_-_%22Go%22_-_World_War_I_British_poster_by_the_Parliamentary_Recruiting_Committee%2C_art_by_E_J_Kealey_%28Restoration%29.jpg" decoding="async" width="170" height="254" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/1/19/Women_of_Britain_Say_-_%22Go%22_-_World_War_I_British_poster_by_the_Parliamentary_Recruiting_Committee%2C_art_by_E_J_Kealey_%28Restoration%29.jpg/255px-Women_of_Britain_Say_-_%22Go%22_-_World_War_I_British_poster_by_the_Parliamentary_Recruiting_Committee%2C_art_by_E_J_Kealey_%28Restoration%29.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/1/19/Women_of_Britain_Say_-_%22Go%22_-_World_War_I_British_poster_by_the_Parliamentary_Recruiting_Committee%2C_art_by_E_J_Kealey_%28Restoration%29.jpg/340px-Women_of_Britain_Say_-_%22Go%22_-_World_War_I_British_poster_by_the_Parliamentary_Recruiting_Committee%2C_art_by_E_J_Kealey_%28Restoration%29.jpg 2x" data-file-width="4576" data-file-height="6844" /></a><figcaption>May 1915 poster by E. J. Kealey, from the Parliamentary Recruiting Committee</figcaption></figure> World War I may have been the high-water mark of music hall popularity. The artists and composers threw themselves into rallying public support and enthusiasm for the war effort. Patriotic music hall compositions such as "Keep the Home Fires Burning" (<a rel="nofollow" class="external text" href="http://www.firstworldwar.com/audio/John_McCormack_-_Keep_The_Home_Fires_Burning.mp3">1914</a>), "Pack up Your Troubles" (<a rel="nofollow" class="external text" href="http://www.firstworldwar.com/audio/Murray_Johnson_-_Pack_Up_Your_Troubles.mp3">1915</a>), "<a href="/wiki/It%27s_a_Long_Way_to_Tipperary" title="It's a Long Way to Tipperary">It's a Long Way to Tipperary</a>" (<a rel="nofollow" class="external text" href="http://www.firstworldwar.com/audio/John_McCormack_-_It%27s_A_Long_Way_To_Tipperary.mp3">1914</a>) and "<a href="/wiki/We_Don%27t_Want_to_Lose_You_(But_We_Think_You_Ought_To_Go)" class="mw-redirect" title="We Don't Want to Lose You (But We Think You Ought To Go)">We Don't Want to Lose You (But We Think You Ought To Go)</a>" (<a rel="nofollow" class="external text" href="https://www.firstworldwar.com/audio/Helen_Clark_-_Your_King_And_Country_Want_You.mp3">1914</a>), were sung by music hall audiences, and sometimes by soldiers in the trenches.<a href="#cite_note-41">[41]</a> Many songs promoted recruitment ("All the boys in khaki get the nice girls", 1915); others satirised particular elements of the war experience. "What did you do in the Great war, Daddy" (<a rel="nofollow" class="external text" href="http://www.firstworldwar.com/audio/Tom_Clare_-_What_Did_You_Do_In_The_War,_Daddy.mp3">1919</a>) criticised profiteers and slackers; <a href="/wiki/Vesta_Tilley" title="Vesta Tilley">Vesta Tilley</a>'s "I've got a bit of a blighty one" (<a rel="nofollow" class="external text" href="http://www.firstworldwar.com/audio/Vesta_Tilley_-_I%27ve_A_Bit_Of_A_%27Blighty_One%27.mp3">1916</a>) showed a soldier delighted to have a wound just serious enough to be sent home. The rhymes give a sense of grim humour ("When they wipe my face with sponges / and they feed me on <a href="/wiki/Blancmange" title="Blancmange">blancmanges</a> / I'm glad I've got a bit of a blighty one").<a href="#cite_note-42">[42]</a> Tilley became more popular than ever during this time, when she and her husband, <a href="/wiki/Walter_de_Frece" title="Walter de Frece">Walter de Frece</a>, managed a military recruitment drive. In the guise of characters like 'Tommy in the Trench' and 'Jack Tar Home from Sea', Tilley performed songs such as "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 <a href="/wiki/War_bond" title="War bond">war bonds</a>. Her husband was <a href="/wiki/Knight" title="Knight">knighted</a> in 1919 for his own services to the war effort, and Tilley became Lady de Frece.<a href="#cite_note-43">[43]</a> Once the reality of war began to sink home, the recruiting songs all but disappeared – the Greatest Hits collection for 1915 published by top music publisher Francis and Day contains no recruitment songs. After conscription was brought in 1916, songs dealing with the war spoke mostly of the desire to return home. Many also expressed anxiety about the new roles women were taking in society. Possibly the most notorious of music hall songs from the First World War was "<a href="/wiki/Oh,_What_a_Lovely_War!" title="Oh, What a Lovely War!">Oh! It's a lovely war</a>" (<a rel="nofollow" class="external text" href="http://www.firstworldwar.com/audio/Courtland_And_Jeffries_-_Oh,_It%27s_A_Lovely_War.mp3">1917</a>), popularised by <a href="/wiki/Drag_king" title="Drag king">male impersonator</a> <a href="/wiki/Ella_Shields" title="Ella Shields">Ella Shields</a>. <div class="mw-heading mw-heading3"><h3 id="Decline">Decline</h3>[<a href="/w/index.php?title=Music_hall&action=edit&section=6" title="Edit section: Decline">edit</a>]</div> Music hall continued during the <a href="/wiki/Interwar_period" title="Interwar period">interwar period</a>, no longer the single dominant form of popular entertainment in Britain. The improvement of cinema, the development of radio, and the cheapening of the gramophone damaged its popularity greatly. It now had to compete with <a href="/wiki/Jazz" title="Jazz">jazz</a>, <a href="/wiki/Swing_music" title="Swing music">swing</a> and <a href="/wiki/Big_band" title="Big band">big band</a> dance music. Licensing restrictions also changed its character. In 1914, the <a href="/wiki/London_County_Council" title="London County Council">London County Council</a> (LCC) enacted that drinking be banished from the auditorium into a separate bar and, during 1923, 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 (though this could be due to the licensing restrictions brought about due to the <a href="/wiki/Defence_of_the_Realm_Act_1914" title="Defence of the Realm Act 1914">Defence of the Realm Act 1914</a>, which also applied to public houses).<a href="#cite_note-44">[44]</a> Even so, the music hall gave rise to such major stars as <a href="/wiki/George_Formby,_Jr." class="mw-redirect" title="George Formby, Jr.">George Formby</a>, <a href="/wiki/Gracie_Fields" title="Gracie Fields">Gracie Fields</a>, <a href="/wiki/Max_Miller_(comedian)" title="Max Miller (comedian)">Max Miller</a>, <a href="/wiki/Will_Hay" title="Will Hay">Will Hay</a>, and <a href="/wiki/Flanagan_and_Allen" title="Flanagan and Allen">Flanagan and Allen</a> during this period. In the mid-1950s, <a href="/wiki/Rock_and_roll" title="Rock and roll">rock and roll</a>, whose performers initially topped music hall bills, attracted a young audience who had little interest in the music hall acts, while driving the older audience away. The final demise was competition from television, which grew popular after the Queen's coronation was televised. Some music halls tried to retain an audience by putting on <a href="/wiki/Striptease" title="Striptease">striptease</a> acts. In 1957, the playwright <a href="/wiki/John_Osborne" title="John Osborne">John Osborne</a> delivered this elegy:<a href="#cite_note-45">[45]</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1244412712"><blockquote class="templatequote">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.<div class="templatequotecite">— <cite>John Osborne, The Entertainer (1957)</cite></div></blockquote> <a href="/wiki/Moss_Empires" title="Moss Empires">Moss Empires</a>, 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".<a href="#cite_note-46">[46]</a><a href="#cite_note-47">[47]</a> Miller himself had sometimes said that the genre would die with him. Many music hall performers, unable to find work, fell into poverty; some did not even have a home, having spent their working lives living in digs between performances. Stage and film musicals, however, continued to be influenced by the music hall idiom, including <a href="/wiki/Oliver!" title="Oliver!">Oliver!</a>, <a href="/wiki/Dr_Dolittle" class="mw-redirect" title="Dr Dolittle">Dr Dolittle</a> and <a href="/wiki/My_Fair_Lady" title="My Fair Lady">My Fair Lady</a>. The <a href="/wiki/BBC" title="BBC">BBC</a> series <a href="/wiki/The_Good_Old_Days_(UK_TV_series)" class="mw-redirect" title="The Good Old Days (UK TV series)">The Good Old Days</a>, which ran for thirty years, recreated the music hall for the modern audience, and the <a href="/wiki/Paul_Daniels" title="Paul Daniels">Paul Daniels</a> 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-1970s’ television series, <a href="/wiki/The_Muppet_Show" title="The Muppet Show">The Muppet Show</a>.<a href="#cite_note-48">[48]</a> <div class="mw-heading mw-heading2"><h2 id="Music_halls_of_Paris">Music halls of Paris</h2>[<a href="/w/index.php?title=Music_hall&action=edit&section=7" title="Edit section: Music halls of Paris">edit</a>]</div> <figure class="mw-halign-left" typeof="mw:File/Thumb"><a href="/wiki/File:Degas_-_Caf%C3%A9_Concert_-_at_Les_Ambassadeurs_1876-77.jpg" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/b/b6/Degas_-_Caf%C3%A9_Concert_-_at_Les_Ambassadeurs_1876-77.jpg/200px-Degas_-_Caf%C3%A9_Concert_-_at_Les_Ambassadeurs_1876-77.jpg" decoding="async" width="200" height="259" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/b/b6/Degas_-_Caf%C3%A9_Concert_-_at_Les_Ambassadeurs_1876-77.jpg/300px-Degas_-_Caf%C3%A9_Concert_-_at_Les_Ambassadeurs_1876-77.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/b/b6/Degas_-_Caf%C3%A9_Concert_-_at_Les_Ambassadeurs_1876-77.jpg/400px-Degas_-_Caf%C3%A9_Concert_-_at_Les_Ambassadeurs_1876-77.jpg 2x" data-file-width="1623" data-file-height="2101" /></a><figcaption>The Café-Concert by <a href="/wiki/Edgar_Degas" title="Edgar Degas">Edgar Degas</a> (1876–77)</figcaption></figure> <figure class="mw-halign-right" typeof="mw:File/Thumb"><a href="/wiki/File:Mistinguett_Moulin_Rouge.jpg" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/9/95/Mistinguett_Moulin_Rouge.jpg/200px-Mistinguett_Moulin_Rouge.jpg" decoding="async" width="200" height="257" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/9/95/Mistinguett_Moulin_Rouge.jpg/300px-Mistinguett_Moulin_Rouge.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/9/95/Mistinguett_Moulin_Rouge.jpg/400px-Mistinguett_Moulin_Rouge.jpg 2x" data-file-width="1027" data-file-height="1320" /></a><figcaption><a href="/wiki/Mistinguett" title="Mistinguett">Mistinguett</a> at the <a href="/wiki/Moulin_Rouge" title="Moulin Rouge">Moulin Rouge</a> (1911)</figcaption></figure> The music hall was first imported into France in its British form in 1862, but under the French law protecting the state theatres, performers could not wear costumes or recite dialogue, something only allowed in theaters. When the law changed in 1867, the Paris music hall flourished, and a half-dozen new halls opened, offering acrobats, singers, dancers, magicians, and trained animals. The first Paris music hall built specially for that purpose was the <a href="/wiki/Folies-Bergere" class="mw-redirect" title="Folies-Bergere">Folies-Bergere</a> (1869); it was followed by the <a href="/wiki/Moulin_Rouge" title="Moulin Rouge">Moulin Rouge</a> (1889), the <a href="/wiki/Alhambra-Maurice_Chevalier" title="Alhambra-Maurice Chevalier">Alhambra</a> (1866), the first to be called a music hall, and the <a href="/wiki/Paris_Olympia" class="mw-redirect" title="Paris Olympia">Olympia</a> (1893). The Printania (1903) was a music-garden, open only in summer, with a theater, restaurant, circus, and horse-racing. Older theaters also transformed themselves into music halls, including the <a href="/wiki/Bobino" title="Bobino">Bobino</a> (1873), the <a href="/wiki/Bataclan_(theatre)" title="Bataclan (theatre)">Bataclan</a> (1864), and the <a href="/wiki/Alcazar_(Paris)" title="Alcazar (Paris)">Alcazar</a> (1858). At the beginning, music halls offered dance reviews, theater and songs, but gradually songs and singers became the main attraction.<a href="#cite_note-FOOTNOTEFierro19961005–1006-49">[49]</a> <figure class="mw-halign-left" typeof="mw:File/Thumb"><a href="/wiki/File:Baker_Charleston.jpg" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/4/41/Baker_Charleston.jpg/200px-Baker_Charleston.jpg" decoding="async" width="200" height="267" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/4/41/Baker_Charleston.jpg/300px-Baker_Charleston.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/4/41/Baker_Charleston.jpg/400px-Baker_Charleston.jpg 2x" data-file-width="829" data-file-height="1105" /></a><figcaption><a href="/wiki/Josephine_Baker" title="Josephine Baker">Josephine Baker</a> dances the Charleston at the <a href="/wiki/Folies_Berg%C3%A8re" title="Folies Bergère">Folies Bergère</a> (1926)</figcaption></figure> <figure class="mw-halign-right" typeof="mw:File/Thumb"><a href="/wiki/File:Olympia_facade.jpg" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/7/7e/Olympia_facade.jpg/200px-Olympia_facade.jpg" decoding="async" width="200" height="302" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/7/7e/Olympia_facade.jpg/300px-Olympia_facade.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/7/7e/Olympia_facade.jpg/400px-Olympia_facade.jpg 2x" data-file-width="1496" data-file-height="2256" /></a><figcaption>The <a href="/wiki/Olympia_(Paris)" title="Olympia (Paris)">Olympia</a> Music Hall</figcaption></figure> Paris music halls all faced stiff competition in the <a href="/wiki/Interwar_period" title="Interwar period">interwar period</a> from the most popular new form of entertainment, the <a href="/wiki/Movie_theater" title="Movie theater">cinema</a>. They responded by offering more complex and lavish shows. In 1911, the Olympia had introduced the giant stairway as a set for its productions, an idea copied by other music halls. <a href="/wiki/Gaby_Deslys" title="Gaby Deslys">Gaby Deslys</a> rose in popularity and created, with her dance partner <a href="/wiki/Harry_Pilcer" title="Harry Pilcer">Harry Pilcer</a>, her most famous dance The Gaby Glide.<a href="#cite_note-50">[50]</a> The singer <a href="/wiki/Mistinguett" title="Mistinguett">Mistinguett</a> made her debut the Casino de Paris in 1895, and continued to appear regularly in the 1920s and 1930s at the <a href="/wiki/Folies_Berg%C3%A8re" title="Folies Bergère">Folies Bergère</a>, <a href="/wiki/Moulin_Rouge" title="Moulin Rouge">Moulin Rouge</a> and Eldorado. Her risqué routines captivated Paris, and she became one of the most highly-paid and popular French entertainers of her time.<a href="#cite_note-FOOTNOTEFierro19961006-51">[51]</a> One of the most popular entertainers in Paris during the period was the American singer <a href="/wiki/Josephine_Baker" title="Josephine Baker">Josephine Baker</a>. Baker sailed to Paris, France. She first arrived in Paris in 1925 to perform in a show called <a href="/wiki/Negrophilia#The_Bal_Nègre" title="Negrophilia">La Revue Nègre</a> at the <a href="/wiki/Th%C3%A9%C3%A2tre_des_Champs-%C3%89lys%C3%A9es" title="Théâtre des Champs-Élysées">Théâtre des Champs-Élysées</a>.<a href="#cite_note-52">[52]</a> She became an immediate success for her <a href="/wiki/Burlesque" title="Burlesque">erotic dancing</a>, and for appearing <a href="/wiki/Nudity" title="Nudity">practically nude</a> on stage. After a successful tour of Europe, she returned to France to star at the <a href="/wiki/Folies_Berg%C3%A8re" title="Folies Bergère">Folies Bergère</a>. Baker performed the 'Danse sauvage,' wearing a costume consisting of a skirt made of a string of artificial bananas. The music-halls suffered growing hardships in the 1930s. The Olympia was converted into a movie theater, and others closed. Others however continued to thrive. In 1937 and 1930, the Casino de Paris presented shows with <a href="/wiki/Maurice_Chevalier" title="Maurice Chevalier">Maurice Chevalier</a>, who had already achieved success as an actor and singer in <a href="/wiki/Cinema_of_the_United_States" title="Cinema of the United States">Hollywood</a>. In 1935, a twenty-year old singer named <a href="/wiki/%C3%89dith_Piaf" title="Édith Piaf">Édith Piaf</a> was discovered in the <a href="/wiki/Quartier_Pigalle" class="mw-redirect" title="Quartier Pigalle">Pigalle</a> by nightclub owner <a href="/wiki/Louis_Lepl%C3%A9e" title="Louis Leplée">Louis Leplée</a>, whose club, Le Gerny, off the <a href="/wiki/Champs-%C3%89lys%C3%A9es" title="Champs-Élysées">Champs-Élysées</a>, was frequented by the upper and lower classes alike. He persuaded her to sing despite her extreme nervousness. Leplée taught her the basics of stage presence and told her to wear a black dress, which became her trademark apparel. Leplée ran an intense publicity campaign leading up to her opening night, attracting the presence of many celebrities, including Maurice Chevalier. Her nightclub appearance led to her first two records produced that same year, and the beginning of her career. Competition from movies and television largely brought an end to the Paris music hall. However, a few still flourish, with tourists as their primary audience. Major music halls include the <a href="/wiki/Folies-Bergere" class="mw-redirect" title="Folies-Bergere">Folies-Bergere</a>, <a href="/wiki/Crazy_Horse_Saloon" class="mw-redirect" title="Crazy Horse Saloon">Crazy Horse Saloon</a>, <a href="/wiki/Casino_de_Paris" title="Casino de Paris">Casino de Paris</a>, <a href="/wiki/Olympia_(Paris)" title="Olympia (Paris)">Olympia</a>, and <a href="/wiki/Moulin_Rouge" title="Moulin Rouge">Moulin Rouge</a>.<a href="#cite_note-FOOTNOTEFierro19961006-51">[51]</a> <div class="mw-heading mw-heading2"><h2 id="History_of_the_songs">History of the songs</h2>[<a href="/w/index.php?title=Music_hall&action=edit&section=8" title="Edit section: History of the songs">edit</a>]</div> 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 <a href="/wiki/Industrial_Revolution" title="Industrial Revolution">Industrial Revolution</a>. The newly created urban communities, cut off from their cultural roots, required new and readily accessible forms of entertainment.<a href="#cite_note-song-53">[53]</a> Music halls were originally tavern 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 <a href="/wiki/Folk_song" class="mw-redirect" title="Folk song">folk song</a> 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, <a href="/wiki/Stephen_Foster" title="Stephen Foster">Stephen Foster</a> had reinvigorated folk song with the admixture of Negro <a href="/wiki/Spiritual_(music)" class="mw-redirect" title="Spiritual (music)">spiritual</a> to produce a new type of popular song. Songs like "<a href="/wiki/Old_Folks_at_Home" title="Old Folks at Home">Old Folks at Home</a>" (1851)<a href="#cite_note-54">[54]</a> and "<a href="/wiki/Oh,_Dem_Golden_Slippers" title="Oh, Dem Golden Slippers">Oh, Dem Golden Slippers</a>" (James Bland, 1879])<a href="#cite_note-55">[55]</a> spread round the globe, taking with them the idiom and appurtenances of the <a href="/wiki/Minstrel_show" title="Minstrel show">minstrel</a> song. Typically, a music hall song consists of a series of verses sung by the performer alone, and a repeated chorus which carries the principal melody, and in which the audience is encouraged to join. <figure class="mw-halign-right" typeof="mw:File/Thumb"><a href="/wiki/File:GeorgeLeybourne2.jpg" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/6/65/GeorgeLeybourne2.jpg/200px-GeorgeLeybourne2.jpg" decoding="async" width="200" height="272" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/6/65/GeorgeLeybourne2.jpg/300px-GeorgeLeybourne2.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/6/65/GeorgeLeybourne2.jpg/400px-GeorgeLeybourne2.jpg 2x" data-file-width="700" data-file-height="952" /></a><figcaption><a href="/wiki/George_Leybourne" title="George Leybourne">George Leybourne</a> as 'Champagne Charlie'. Artwork by <a href="/wiki/Alfred_Concanen" title="Alfred Concanen">Alfred Concanen</a>.</figcaption></figure> 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",<a href="#cite_note-56">[56]</a> and the first major music hall success, "<a href="/wiki/Champagne_Charlie_(song)" title="Champagne Charlie (song)">Champagne Charlie</a>" (1867) had a major influence in establishing the new art form. The tune of "Champagne Charlie" became used for <a href="/wiki/The_Salvation_Army" title="The Salvation Army">The Salvation Army</a> hymn "Bless His Name, He Sets Me Free" (1881). When asked why the tune should be used like this, <a href="/wiki/William_Booth" title="William Booth">William Booth</a> is said to have replied "Why should the devil have all the good tunes?" According to The Salvation Army, "The adoption of such music was soon put to full use. On Saturday afternoon, May 13, 1882, the congregation at the opening of the Clapton Congress Hall joined heartily in the chorus of <a href="/wiki/Gipsy_Smith" title="Gipsy Smith">Gipsy Smith</a>'s solo, 'O the Blood of Jesus cleanses white as snow' to the music of 'I traced her little footsteps in the snow'. There were no qualms of conscience. Many people gathered there knew none of the <a href="/wiki/Hymn_tune" title="Hymn tune">hymn tunes</a> or gospel melodies used in the churches; the music hall had been their melody school."<a href="#cite_note-57">[57]</a> Music hall songs were often composed with their working class audiences in mind. Songs like "<a href="/wiki/My_Old_Man_(Said_Follow_the_Van)" class="mw-redirect" title="My Old Man (Said Follow the Van)">My Old Man (Said Follow the Van)</a>", "<a href="/wiki/Wot_Cher!_Knocked_%27em_in_the_Old_Kent_Road" title="Wot Cher! Knocked 'em in the Old Kent Road">Wot Cher! Knocked 'em in the Old Kent Road</a>", and "<a href="/wiki/Waiting_at_the_Church" title="Waiting at the Church">Waiting at the Church</a>", expressed in melodic form situations with which the urban poor were familiar. Music hall songs could be romantic, patriotic, humorous or sentimental, as the need arose.<a href="#cite_note-song-53">[53]</a> The most popular music hall songs became the basis for the <a href="/wiki/Pub_song" title="Pub song">pub songs</a> of the typical <a href="/wiki/Cockney" title="Cockney">Cockney</a> "<a href="/wiki/Knees_Up_Mother_Brown" title="Knees Up Mother Brown">knees up</a>". Although a number of songs show a sharply ironic and knowing view of working-class life, there were, too, those which were repetitive, derivative, written quickly and sung to make a living rather than a work of art. <div class="mw-heading mw-heading3"><h3 id="Famous_music_hall_songs">Famous music hall songs</h3>[<a href="/w/index.php?title=Music_hall&action=edit&section=9" title="Edit section: Famous music hall songs">edit</a>]</div> <figure typeof="mw:File/Thumb"><a href="/wiki/File:Gus_Elen_If_It_Wasnt_for_the_Ouses_In_Between.jpg" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/9/95/Gus_Elen_If_It_Wasnt_for_the_Ouses_In_Between.jpg/200px-Gus_Elen_If_It_Wasnt_for_the_Ouses_In_Between.jpg" decoding="async" width="200" height="288" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/9/95/Gus_Elen_If_It_Wasnt_for_the_Ouses_In_Between.jpg/300px-Gus_Elen_If_It_Wasnt_for_the_Ouses_In_Between.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/9/95/Gus_Elen_If_It_Wasnt_for_the_Ouses_In_Between.jpg/400px-Gus_Elen_If_It_Wasnt_for_the_Ouses_In_Between.jpg 2x" data-file-width="700" data-file-height="1008" /></a><figcaption>"If It Wasn't for the 'Ouses in Between", sung by <a href="/wiki/Gus_Elen" title="Gus Elen">Gus Elen</a></figcaption></figure> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1236090951"><div role="note" class="hatnote navigation-not-searchable">See also: <a href="/wiki/Music_hall_songs" title="Music hall songs">Music hall songs</a></div> <ul><li>"<a href="/wiki/A_Little_of_What_You_Fancy_Does_You_Good" title="A Little of What You Fancy Does You Good">A Little of What You Fancy Does You Good</a>* (<a href="/wiki/George_Arthurs" title="George Arthurs">George Arthurs</a>, <a href="/wiki/Fred_W._Leigh" title="Fred W. Leigh">Fred W. Leigh</a>), sung by <a href="/wiki/Marie_Lloyd" title="Marie Lloyd">Marie Lloyd</a></li> <li>"<a href="/wiki/Any_Old_Iron_(song)" title="Any Old Iron (song)">Any Old Iron</a>" (Charles Collins; Terry Sheppard) sung by <a href="/wiki/Harry_Champion" title="Harry Champion">Harry Champion</a>.</li> <li>"<a href="/wiki/Ask_a_P%27liceman" title="Ask a P'liceman">Ask a P'liceman</a>" (<a href="/wiki/E._W._Rogers" title="E. W. Rogers">E. W. Rogers</a> and A. E. Durandeau) sung by <a href="/wiki/James_Fawn" title="James Fawn">James Fawn</a></li> <li>"<a href="/wiki/Belgium_Put_the_Kibosh_on_the_Kaiser" title="Belgium Put the Kibosh on the Kaiser">Belgium Put the Kibosh on the Kaiser</a>" (Alf Ellerton) sung by <a href="/wiki/Mark_Sheridan" title="Mark Sheridan">Mark Sheridan</a>.</li> <li>"<a href="/wiki/Boiled_Beef_and_Carrots" title="Boiled Beef and Carrots">Boiled Beef and Carrots</a>" (Charles Collins and Fred Murray) sung by Harry Champion.</li> <li>"<a href="/wiki/The_Boy_I_Love_is_Up_in_the_Gallery" title="The Boy I Love is Up in the Gallery">The Boy I Love is Up in the Gallery</a>" (<a href="/wiki/George_Ware_(songwriter)" title="George Ware (songwriter)">George Ware</a>) sung by <a href="/wiki/Nelly_Power" title="Nelly Power">Nelly Power</a>, and <a href="/wiki/Marie_Lloyd" title="Marie Lloyd">Marie Lloyd</a>.</li> <li>"<a href="/wiki/Burlington_Bertie" title="Burlington Bertie">Burlington Bertie from Bow</a>" (<a href="/wiki/William_Hargreaves" title="William Hargreaves">William Hargreaves</a>) sung by <a href="/wiki/Ella_Shields" title="Ella Shields">Ella Shields</a>.</li> <li>"<a href="/wiki/Daddy_Wouldn%27t_Buy_Me_a_Bow_Wow" title="Daddy Wouldn't Buy Me a Bow Wow">Daddy Wouldn't Buy Me a Bow Wow</a>" (<a href="/wiki/Joseph_Tabrar" title="Joseph Tabrar">Joseph Tabrar</a>) sung by <a href="/wiki/Vesta_Victoria" title="Vesta Victoria">Vesta Victoria</a>.</li> <li>"<a href="/wiki/Daisy_Bell" title="Daisy Bell">Daisy Bell (Bicycle Built for Two)</a>" (<a href="/wiki/Harry_Dacre" title="Harry Dacre">Harry Dacre</a>) sung by <a href="/wiki/Katie_Lawrence" title="Katie Lawrence">Katie Lawrence</a>.</li> <li>"<a href="/wiki/Don%27t_Dilly_Dally_on_the_Way" title="Don't Dilly Dally on the Way">Don't Dilly Dally on the Way</a>" (Charles Collins and <a href="/wiki/Fred_W._Leigh" title="Fred W. Leigh">Fred W. Leigh</a>) sung by <a href="/wiki/Marie_Lloyd" title="Marie Lloyd">Marie Lloyd</a>.</li> <li>"<a href="/wiki/Down_at_the_Old_Bull_and_Bush" class="mw-redirect" title="Down at the Old Bull and Bush">Down at the Old Bull and Bush</a>" (<a href="/wiki/Harry_von_Tilzer" class="mw-redirect" title="Harry von Tilzer">Harry von Tilzer</a>; <a href="/wiki/Andrew_B._Sterling" title="Andrew B. Sterling">Andrew B. Sterling</a>) sung by <a href="/wiki/Florrie_Forde" title="Florrie Forde">Florrie Forde</a>.</li> <li>"<a href="/wiki/Every_Little_Movement_(Has_a_Meaning_All_Its_Own)" title="Every Little Movement (Has a Meaning All Its Own)">Every Little Movement (Has a Meaning All Its Own)</a>" (J. C. Moore; <a href="/wiki/Fred_E._Cliffe" title="Fred E. Cliffe">Fred E. Cliffe</a>) sung by <a href="/wiki/Marie_Lloyd" title="Marie Lloyd">Marie Lloyd</a>.<a href="#cite_note-58">[58]</a></li> <li>"<a href="/wiki/Good-bye-ee!" title="Good-bye-ee!">Good-bye-ee!</a>" (<a href="/wiki/R._P._Weston" title="R. P. Weston">R. P. Weston</a>; <a href="/wiki/Bert_Lee" title="Bert Lee">Bert Lee</a>) sung by <a href="/wiki/Florrie_Forde" title="Florrie Forde">Florrie Forde</a> and <a href="/wiki/Daisy_Wood" title="Daisy Wood">Daisy Wood</a>.</li> <li>"<a href="/wiki/Has_Anybody_Here_Seen_Kelly%3F" title="Has Anybody Here Seen Kelly?">Has Anybody Here Seen Kelly?</a>" (<a href="/wiki/Clarence_Wainwright_Murphy" class="mw-redirect" title="Clarence Wainwright Murphy">C. W. Murphy</a> and Will Letters) sung by <a href="/wiki/Florrie_Forde" title="Florrie Forde">Florrie Forde</a>.</li> <li>"<a href="/wiki/Hello,_Hello,_Who%27s_Your_Lady_Friend%3F" class="mw-redirect" title="Hello, Hello, Who's Your Lady Friend?">Hello, Hello, Who's Your Lady Friend?</a>" (<a href="/wiki/Harry_Fragson" title="Harry Fragson">Harry Fragson</a>; <a href="/wiki/Worton_David" title="Worton David">Worton David</a>; <a href="/wiki/Bert_Lee" title="Bert Lee">Bert Lee</a>) sung by Harry Fragson, <a href="/wiki/Mark_Sheridan" title="Mark Sheridan">Mark Sheridan</a>, etc.</li> <li>"<a href="/wiki/I_Belong_to_Glasgow" title="I Belong to Glasgow">I Belong to Glasgow</a>", written and performed by <a href="/wiki/Will_Fyffe" title="Will Fyffe">Will Fyffe</a>.</li> <li>"<a href="/wiki/I_Do_Like_to_Be_Beside_the_Seaside" title="I Do Like to Be Beside the Seaside">I Do Like to Be Beside the Seaside</a>" (John A. Glover-Kind) sung by <a href="/wiki/Mark_Sheridan" title="Mark Sheridan">Mark Sheridan</a>.</li> <li>"<a href="/wiki/I%27m_Henery_the_Eighth,_I_Am" title="I'm Henery the Eighth, I Am">I'm Henery the Eighth, I Am</a>" (1911)<a href="#cite_note-59">[59]</a> (Fred Murray and R. P. Weston) sung by <a href="/wiki/Harry_Champion" title="Harry Champion">Harry Champion</a>.</li> <li>"<a href="/wiki/It%27s_a_Long_Way_to_Tipperary" title="It's a Long Way to Tipperary">It's a Long Way to Tipperary</a>" (1914)<a href="#cite_note-60">[60]</a> (<a href="/wiki/Jack_Judge" title="Jack Judge">Jack Judge</a> and Harry Williams) sung by <a href="/wiki/John_McCormack_(tenor)" title="John McCormack (tenor)">John McCormack</a>.</li> <li>"<a href="/wiki/Let%27s_All_Go_Down_the_Strand" title="Let's All Go Down the Strand">Let's All Go Down the Strand</a>" (<a href="/wiki/Harry_Castling" title="Harry Castling">Harry Castling</a> and <a href="/wiki/C._W._Murphy" title="C. W. Murphy">C. W. Murphy</a>) sung by Charles R. Whittle.</li> <li>"<a href="/wiki/Lily_of_Laguna" title="Lily of Laguna">Lily of Laguna</a>" (Leslie Stuart) sung by <a href="/wiki/Eugene_Stratton" title="Eugene Stratton">Eugene Stratton</a>, and later <a href="/wiki/G._H._Elliott" title="G. H. Elliott">G. H. Elliott</a>.</li> <li>"<a href="/wiki/The_Daring_Young_Man_on_the_Flying_Trapeze_(song)" title="The Daring Young Man on the Flying Trapeze (song)">The Daring Young Man on the Flying Trapeze</a>" (<a href="/wiki/George_Leybourne" title="George Leybourne">George Leybourne</a>; Gaston Lyle; arr. Alfred Lee) sung by <a href="/wiki/George_Leybourne" title="George Leybourne">George Leybourne</a>.</li> <li>"<a href="/wiki/The_Man_Who_Broke_the_Bank_at_Monte_Carlo_(song)" title="The Man Who Broke the Bank at Monte Carlo (song)">The Man Who Broke the Bank at Monte Carlo</a>" (Fred Gilbert) sung by <a href="/wiki/Charles_Coborn" title="Charles Coborn">Charles Coborn</a>.</li> <li>"<a href="/wiki/My_Old_Dutch_(song)" title="My Old Dutch (song)">My Old Dutch</a>" (<a href="/wiki/Albert_Chevalier" title="Albert Chevalier">Albert Chevalier</a>; <a href="/wiki/Charles_Ingle" title="Charles Ingle">Charles Ingle</a>) sung by <a href="/wiki/Albert_Chevalier" title="Albert Chevalier">Albert Chevalier</a>.</li> <li>"<a href="/wiki/Nellie_Dean" title="Nellie Dean">Nellie Dean</a>" (<a href="/wiki/Henry_W._Armstrong" title="Henry W. Armstrong">Henry W. Armstrong</a>) sung by <a href="/wiki/Gertie_Gitana" title="Gertie Gitana">Gertie Gitana</a>.</li> <li>"<a href="/wiki/Oh!_Mr_Porter" title="Oh! Mr Porter">Oh! Mr Porter</a>" (<a href="/wiki/George_Le_Brunn" title="George Le Brunn">George Le Brunn</a> and Thomas Le Brunn) sung by <a href="/wiki/Marie_Lloyd" title="Marie Lloyd">Marie Lloyd</a>, and <a href="/wiki/Norah_Blaney" title="Norah Blaney">Norah Blaney</a>.</li> <li>"<a href="/wiki/Pack_Up_Your_Troubles_in_Your_Old_Kit-Bag" title="Pack Up Your Troubles in Your Old Kit-Bag">Pack Up Your Troubles in Your Old Kit-Bag</a>" (<a href="/wiki/Felix_Powell" title="Felix Powell">Felix Powell</a>) sung by <a href="/wiki/Florrie_Forde" title="Florrie Forde">Florrie Forde</a>.</li> <li>"<a href="/wiki/Ship_Ahoy!_(All_the_Nice_Girls_Love_a_Sailor)" title="Ship Ahoy! (All the Nice Girls Love a Sailor)">Ship Ahoy! (All the Nice Girls Love a Sailor)</a>", performed by <a href="/wiki/Hetty_King" title="Hetty King">Hetty King</a></li> <li>"<a href="/wiki/Ta-ra-ra_Boom-de-ay" title="Ta-ra-ra Boom-de-ay">Ta-ra-ra Boom-de-ay</a>" (Harry J. Sayers) sung by <a href="/wiki/Lottie_Collins" title="Lottie Collins">Lottie Collins</a>.</li> <li>"<a href="/wiki/Waiting_at_the_Church" title="Waiting at the Church">Waiting at the Church</a>"<a href="#cite_note-61">[61]</a> (<a href="/wiki/Henry_E._Pether" title="Henry E. Pether">Henry E. Pether</a>; <a href="/wiki/Fred_W._Leigh" title="Fred W. Leigh">Fred W. Leigh</a>) sung by <a href="/wiki/Vesta_Victoria" title="Vesta Victoria">Vesta Victoria</a>.</li> <li>"<a href="/wiki/Where_Did_You_Get_That_Hat%3F" title="Where Did You Get That Hat?">Where Did You Get That Hat?</a>" (<a href="/wiki/Joseph_J._Sullivan_(vaudeville)" title="Joseph J. Sullivan (vaudeville)">Joseph J. Sullivan</a>, 1888; words rewritten 1901 by James Rolmaz<a href="#cite_note-62">[62]</a>) sung by J. C. Heffron (1857–1934)<a href="#cite_note-63">[63]</a></li></ul> <div class="mw-heading mw-heading3"><h3 id="Music_hall_songwriters">Music hall songwriters</h3>[<a href="/w/index.php?title=Music_hall&action=edit&section=10" title="Edit section: Music hall songwriters">edit</a>]</div> <ul><li><a href="/wiki/Fred_Albert" title="Fred Albert">Fred Albert</a> (1844–1886), "topical vocalist" who wrote his own material; titles included "Bradshaw's Guide" and "The Mad Butcher"; popular in the 1870s.<a href="#cite_note-64">[64]</a></li> <li><a href="/wiki/Harry_Castling" title="Harry Castling">Harry Castling</a> (1865–1933), lyricist of "Let's All Go Down The Strand" sung by Charles R. Whittle and "Don't Have Any More, Mrs More" sung by <a href="/wiki/Lily_Morris" title="Lily Morris">Lily Morris</a>.<a href="#cite_note-65">[65]</a></li> <li><a href="/wiki/Harry_Clifton_(singer)" title="Harry Clifton (singer)">Harry Clifton</a> (1832–1872), prolific singer-songwriter whose titles include "<a href="/wiki/Pretty_Polly_Perkins_of_Paddington_Green" title="Pretty Polly Perkins of Paddington Green">Polly Perkins of Paddingion Green</a>".<a href="#cite_note-Hudd-66">[66]</a></li> <li><a href="/wiki/Charles_Collins_(songwriter)" title="Charles Collins (songwriter)">Charles Collins</a> (1874–1923), composer of songs including "<a href="/wiki/Boiled_Beef_and_Carrots" title="Boiled Beef and Carrots">Boiled Beef and Carrots</a>", "<a href="/wiki/Any_Old_Iron_(song)" title="Any Old Iron (song)">Any Old Iron</a>", and "<a href="/wiki/Don%27t_Dilly_Dally_on_the_Way" title="Don't Dilly Dally on the Way">Don't Dilly Dally on the Way</a>".<a href="#cite_note-67">[67]</a></li> <li><a href="/wiki/Harry_Dacre" title="Harry Dacre">Harry Dacre</a> (1857–1922), composer of "<a href="/wiki/Daisy_Bell" title="Daisy Bell">Daisy Bell (Bicycle Built for Two)</a>" (1892) and "I'll Be Your Sweetheart" (1899).<a href="#cite_note-68">[68]</a><a href="#cite_note-69">[69]</a></li> <li><a href="/wiki/Stephen_Collins_Foster" class="mw-redirect" title="Stephen Collins Foster">Stephen Collins Foster</a> (1826–1864), American <a href="/wiki/Parlour_music" title="Parlour music">parlour music</a> and <a href="/wiki/Minstrel_show" title="Minstrel show">minstrel</a> composer.</li> <li><a href="/wiki/Noel_Gay" title="Noel Gay">Noel Gay</a> (1898–1954), composer of "<a href="/wiki/The_Lambeth_Walk" title="The Lambeth Walk">The Lambeth Walk</a>" (1937) and "<a href="/wiki/Leaning_on_a_Lamp-post" title="Leaning on a Lamp-post">Leaning on a Lamp-post</a>" (1937).<a href="#cite_note-70">[70]</a></li> <li><a href="/wiki/Fred_Godfrey_(songwriter)" title="Fred Godfrey (songwriter)">Fred Godfrey</a> (1880–1953), composer of "Who Were You With Last Night?" sung by <a href="/wiki/Mark_Sheridan" title="Mark Sheridan">Mark Sheridan</a>, and "Now I Have To Call Him Father" sung by <a href="/wiki/Vesta_Victoria" title="Vesta Victoria">Vesta Victoria</a>.<a href="#cite_note-71">[71]</a></li> <li><a href="/wiki/William_Hargreaves" title="William Hargreaves">William Hargreaves</a> (1880–1941), wrote the 1915 parody "<a href="/wiki/Burlington_Bertie" title="Burlington Bertie">Burlington Bertie from Bow</a>" for his wife <a href="/wiki/Ella_Shields" title="Ella Shields">Ella Shields</a>.<a href="#cite_note-72">[72]</a></li> <li><a href="/wiki/Frank_Clifford_Harris" title="Frank Clifford Harris">F. Clifford Harris</a> (1875-1949), lyricist (working often with <a href="/wiki/James_W._Tate" title="James W. Tate">James W. Tate</a>) of "I Was A Good Little Girl" and "A Broken Doll", both sung by <a href="/wiki/Clarice_Mayne" title="Clarice Mayne">Clarice Mayne and That</a>.<a href="#cite_note-Mayne-73">[73]</a></li> <li><a href="/wiki/Tom_Hudson_(songwriter)" class="mw-redirect" title="Tom Hudson (songwriter)">Tom Hudson</a> (1791–1844), writer and performer of comic songs</li> <li><a href="/wiki/G._W._Hunt" title="G. W. Hunt">G. W. Hunt</a> (c.1837–1904), prolific composer and lyricist best known for <a href="/wiki/G._H._MacDermott" title="G. H. MacDermott">G. H. MacDermott</a>'s "War Song" ("By Jingo if we do...")<a href="#cite_note-74">[74]</a></li> <li><a href="/wiki/Harry_Lauder" title="Harry Lauder">Harry Lauder</a> (1870–1950), writer of his own popular songs, "I Love A Lassie" and "Stop yer Tickling, Jock".<a href="#cite_note-75">[75]</a></li> <li><a href="/wiki/George_Le_Brunn" title="George Le Brunn">George Le Brunn</a> (1864–1905), composer of "<a href="/wiki/Oh!_Mr_Porter" title="Oh! Mr Porter">Oh! Mr Porter</a>" sung by <a href="/wiki/Marie_Lloyd" title="Marie Lloyd">Marie Lloyd</a>, and "If It Wasn't for the 'Ouses in Between" and "It's a Great Big Shame" sung by <a href="/wiki/Gus_Elen" title="Gus Elen">Gus Elen</a>.<a href="#cite_note-LeBrunn-76">[76]</a></li> <li><a href="/wiki/Bert_Lee" title="Bert Lee">Bert Lee</a> (1880–1946), composer of "<a href="/wiki/Good-bye-ee!" title="Good-bye-ee!">Good-bye-ee!</a>" sung by <a href="/wiki/Florrie_Forde" title="Florrie Forde">Florrie Forde</a> and <a href="/wiki/Daisy_Wood" title="Daisy Wood">Daisy Wood</a>, and "Hello Hello, Who’s Your Lady Friend?" sung by <a href="/wiki/Mark_Sheridan" title="Mark Sheridan">Mark Sheridan</a>.<a href="#cite_note-LeeWeston-77">[77]</a></li> <li><a href="/wiki/Fred_W._Leigh" title="Fred W. Leigh">Fred W. Leigh</a> (1871–1924), lyricist of "<a href="/wiki/The_Galloping_Major_(song)" title="The Galloping Major (song)">The Galloping Major</a>", "<a href="/wiki/Waiting_at_the_Church" title="Waiting at the Church">Waiting at the Church</a>", "<a href="/wiki/A_Little_of_What_You_Fancy_Does_You_Good" title="A Little of What You Fancy Does You Good">A Little of What You Fancy Does You Good</a>" and "<a href="/wiki/Don%27t_Dilly_Dally_on_the_Way" title="Don't Dilly Dally on the Way">Don't Dilly Dally on the Way</a>", among others.<a href="#cite_note-baker-78">[78]</a></li> <li><a href="/wiki/Arthur_Lloyd_(musician)" title="Arthur Lloyd (musician)">Arthur Lloyd</a> (1839–1904), music hall's first prolific singer-songwriter.<a href="#cite_note-79">[79]</a></li> <li><a href="/wiki/A._J._Mills_(songwriter)" title="A. J. Mills (songwriter)">Arthur J. Mills</a> (1872–1919), lyricist of "When I Take My Morning Promenade" sung by <a href="/wiki/Marie_Lloyd" title="Marie Lloyd">Marie Lloyd</a>, and "Ship Ahoy! (All The Nice Girls Love A Sailor)" sung by <a href="/wiki/Hetty_King" title="Hetty King">Hetty King</a>.<a href="#cite_note-80">[80]</a></li> <li><a href="/wiki/Clarence_Wainwright_Murphy" class="mw-redirect" title="Clarence Wainwright Murphy">C. W. Murphy</a> (1875–1913), composer of "<a href="/wiki/Has_Anybody_Here_Seen_Kelly%3F" title="Has Anybody Here Seen Kelly?">Has Anybody Here Seen Kelly?</a>" sung by <a href="/wiki/Florrie_Forde" title="Florrie Forde">Florrie Forde</a> and "Hello Hello, Who’s Your Lady Friend?" sung by <a href="/wiki/Mark_Sheridan" title="Mark Sheridan">Mark Sheridan</a>.<a href="#cite_note-81">[81]</a></li> <li><a href="/wiki/E._W._Rogers" title="E. W. Rogers">Edward W. Rogers</a> (1864–1913), lyricist of "<a href="/wiki/Ask_a_P%27liceman" title="Ask a P'liceman">Ask a P'liceman</a>" sung by <a href="/wiki/James_Fawn" title="James Fawn">James Fawn</a>,<a href="#cite_note-82">[82]</a> and composer of <a href="/wiki/Alec_Hurley" title="Alec Hurley">Alec Hurley</a>'s original "The Lambeth Walk" (1899).<a href="#cite_note-83">[83]</a></li> <li><a href="/wiki/George_Alex_Stevens" title="George Alex Stevens">George Alex Stevens</a> (1875–1954), composer of "On Mother Kelly's Doorstep" sung by <a href="/wiki/Randolph_Sutton" title="Randolph Sutton">Randolph Sutton</a>.<a href="#cite_note-84">[84]</a></li> <li><a href="/wiki/Bennett_Scott" title="Bennett Scott">Bennett Scott</a> (1875–1930), composer of "When I Take My Morning Promenade" sung by <a href="/wiki/Marie_Lloyd" title="Marie Lloyd">Marie Lloyd</a>, and "Ship Ahoy! All the Nice Girls Love a Sailor" sung by Ella Retford.<a href="#cite_note-85">[85]</a></li> <li><a href="/wiki/Leslie_Stuart" title="Leslie Stuart">Leslie Stuart</a> (1863–1928), composer of "<a href="/wiki/Lily_of_Laguna" title="Lily of Laguna">Lily of Laguna</a>" and "Little Dolly Daydream" sung by <a href="/wiki/Eugene_Stratton" title="Eugene Stratton">Eugene Stratton</a>.<a href="#cite_note-86">[86]</a></li> <li><a href="/wiki/Joseph_Tabrar" title="Joseph Tabrar">Joseph Tabrar</a> (1857–1931), prolific composer whose titles included "<a href="/wiki/Daddy_Wouldn%27t_Buy_Me_a_Bow_Wow" title="Daddy Wouldn't Buy Me a Bow Wow">Daddy Wouldn't Buy Me a Bow Wow</a>" sung by <a href="/wiki/Vesta_Victoria" title="Vesta Victoria">Vesta Victoria</a>.<a href="#cite_note-87">[87]</a><a href="#cite_note-88">[88]</a></li> <li><a href="/wiki/James_W._Tate" title="James W. Tate">James W. Tate</a> (1875–1922) composer of "I Was A Good Little Girl" and "A Broken Doll", both sung by <a href="/wiki/Clarice_Mayne" title="Clarice Mayne">Clarice Mayne and That</a>.<a href="#cite_note-Mayne-73">[73]</a></li> <li><a href="/wiki/R._P._Weston" title="R. P. Weston">R. P. Weston</a> (1878–1936), composer of "<a href="/wiki/Good-bye-ee!" title="Good-bye-ee!">Good-bye-ee!</a>" sung by <a href="/wiki/Florrie_Forde" title="Florrie Forde">Florrie Forde</a> and <a href="/wiki/Daisy_Wood" title="Daisy Wood">Daisy Wood</a>, and "<a href="/wiki/I%27m_Henery_the_Eighth,_I_Am" title="I'm Henery the Eighth, I Am">I'm Henery the Eighth, I Am</a>" sung by <a href="/wiki/Harry_Champion" title="Harry Champion">Harry Champion</a>.<a href="#cite_note-LeeWeston-77">[77]</a></li> <li><a href="/wiki/Harry_Wincott" title="Harry Wincott">Harry Wincott</a> (1867–1947), composer of "When The Old Dun Cow Caught Fire" sung by <a href="/wiki/Harry_Champion" title="Harry Champion">Harry Champion</a>,<a href="#cite_note-89">[89]</a> and (arguably) "<a href="/wiki/Mademoiselle_from_Armenti%C3%A8res" title="Mademoiselle from Armentières">Mademoiselle from Armentières</a>".<a href="#cite_note-90">[90]</a></li></ul> <div class="mw-heading mw-heading2"><h2 id="Music_hall_comedy">Music hall comedy</h2>[<a href="/w/index.php?title=Music_hall&action=edit&section=11" title="Edit section: Music hall comedy">edit</a>]</div> 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: <ul><li><a href="/wiki/Lion_comique" title="Lion comique">Lion comiques</a>: essentially, men dressed as "toffs", who sang songs about drinking champagne, going to the races, going to the ball, womanising and gambling, and living the life of an aristocrat.</li> <li>Male and <a href="/wiki/Drag_queen" title="Drag queen">female impersonators</a>, the latter more in the style of a <a href="/wiki/Pantomime_dame" title="Pantomime dame">pantomime dame</a> than a modern <a href="/wiki/Drag_queen" title="Drag queen">drag queen</a>. Nevertheless, these included some more sophisticated performers such as <a href="/wiki/Vesta_Tilley" title="Vesta Tilley">Vesta Tilley</a> and <a href="/wiki/Ella_Shields" title="Ella Shields">Ella Shields</a>, whose male impersonations communicated real social commentary.</li></ul> <div class="mw-heading mw-heading2"><h2 id="Speciality_acts">Speciality acts</h2>[<a href="/w/index.php?title=Music_hall&action=edit&section=12" title="Edit section: Speciality acts">edit</a>]</div> <figure typeof="mw:File/Thumb"><a href="/wiki/File:King,_Hetty_-_1910_(male_impersonator).jpg" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/f/f7/King%2C_Hetty_-_1910_%28male_impersonator%29.jpg/200px-King%2C_Hetty_-_1910_%28male_impersonator%29.jpg" decoding="async" width="200" height="300" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/f/f7/King%2C_Hetty_-_1910_%28male_impersonator%29.jpg/300px-King%2C_Hetty_-_1910_%28male_impersonator%29.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/f/f7/King%2C_Hetty_-_1910_%28male_impersonator%29.jpg 2x" data-file-width="384" data-file-height="576" /></a><figcaption>Male impersonator <a href="/wiki/Hetty_King" title="Hetty King">Hetty King</a></figcaption></figure> <figure typeof="mw:File/Thumb"><a href="/wiki/File:Falk,_Benjamin_J._(1853-1925)_-_Eugen_Sandow_(1867-1925).jpg" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/0/0e/Falk%2C_Benjamin_J._%281853-1925%29_-_Eugen_Sandow_%281867-1925%29.jpg/200px-Falk%2C_Benjamin_J._%281853-1925%29_-_Eugen_Sandow_%281867-1925%29.jpg" decoding="async" width="200" height="283" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/0/0e/Falk%2C_Benjamin_J._%281853-1925%29_-_Eugen_Sandow_%281867-1925%29.jpg/300px-Falk%2C_Benjamin_J._%281853-1925%29_-_Eugen_Sandow_%281867-1925%29.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/0/0e/Falk%2C_Benjamin_J._%281853-1925%29_-_Eugen_Sandow_%281867-1925%29.jpg/400px-Falk%2C_Benjamin_J._%281853-1925%29_-_Eugen_Sandow_%281867-1925%29.jpg 2x" data-file-width="744" data-file-height="1054" /></a><figcaption>Strongman <a href="/wiki/Eugen_Sandow" title="Eugen Sandow">Eugen Sandow</a></figcaption></figure> 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 (abbreviated to "spesh"), which, over time, have included: <ul><li>Adagio: essentially a sort of cross between a dance act and a <a href="/wiki/Juggling" title="Juggling">juggling</a> 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.<a href="#cite_note-91">[91]</a></li> <li><a href="/wiki/Trapeze" title="Trapeze">Aerial acts</a>, of the sort usually seen at the circus</li> <li>Animal acts: Talking dogs, <a href="/wiki/Flea_circus" title="Flea circus">flea circuses</a>, and all manner of animals doing tricks.</li> <li>Cycling acts: again, a development of a circus act, consisting of either a solo or a troupe of trick cyclists. There was even a seven-piece 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.</li> <li><a href="/wiki/Drag_artist" class="mw-redirect" title="Drag artist">Drag artists</a>: female entertainers dressed as men, such as <a href="/wiki/Vesta_Tilley" title="Vesta Tilley">Vesta Tilley</a>, <a href="/wiki/Ella_Shields" title="Ella Shields">Ella Shields</a>, and <a href="/wiki/Hetty_King" title="Hetty King">Hetty King</a>; or male entertainers dressed as women, such as Bert Erroll, <a href="/wiki/Julian_Eltinge" title="Julian Eltinge">Julian Eltinge</a>, <a href="/wiki/Danny_La_Rue" title="Danny La Rue">Danny La Rue</a>, and <a href="/wiki/Rex_Jameson" title="Rex Jameson">Rex Jameson</a> in the character of Mrs Shufflewick.</li> <li>Electric acts, using the newly discovered phenomenon of <a href="/wiki/Static_electricity" title="Static electricity">static electricity</a> to produce tricks such as lighting gas jets and setting fire to handkerchiefs through the performers fingertips. Dr Walford Bodie (1869/70-1939) was the most notable.<a href="#cite_note-92">[92]</a></li> <li><a href="/wiki/Escapology" title="Escapology">Escapologists</a>, such as <a href="/wiki/Harry_Houdini" title="Harry Houdini">Harry Houdini</a>.</li> <li><a href="/wiki/Fire_eater" class="mw-redirect" title="Fire eater">Fire eaters</a> and other eating acts, such as eating glass, <a href="/wiki/Razor" title="Razor">razor blades</a>, <a href="/wiki/Goldfish" title="Goldfish">goldfish</a>, etc.</li> <li><a href="/wiki/Juggling" title="Juggling">Juggling</a> and <a href="/wiki/Plate_spinning" title="Plate spinning">plate spinning</a> acts. Another variation was the <a href="/wiki/Diabolo" title="Diabolo">Diabolo</a>.</li> <li><a href="/wiki/Impalement_arts" title="Impalement arts">Knife throwing</a> and <a href="/wiki/Sword_swallowing" title="Sword swallowing">sword swallowing</a>. The most spectacular of its time was the Victorina Troupe, who swallowed a sword fired from a rifle.</li> <li><a href="/wiki/Magic_(illusion)" title="Magic (illusion)">Magic</a> acts, such as <a href="/wiki/David_Devant" title="David Devant">David Devant</a>.</li> <li>A memory act of the type performed by Datas, "the Living Encyclopaedia" (1875–1956).<a href="#cite_note-93">[93]</a></li> <li><a href="/wiki/Mentalism" title="Mentalism">Mentalism</a> 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.</li> <li><a href="/wiki/Mime_artist" title="Mime artist">Mime artists</a> and <a href="/wiki/Impressionist_(entertainment)" title="Impressionist (entertainment)">impressionists</a>.</li> <li>Comic <a href="/wiki/Pianist" title="Pianist">pianists</a>, such as <a href="/wiki/John_Orlando_Parry" title="John Orlando Parry">John Orlando Parry</a> and <a href="/wiki/George_Grossmith" title="George Grossmith">George Grossmith</a>.</li> <li><a href="/wiki/Puppet" title="Puppet">Puppet</a> acts, including human puppets and living doll acts.</li> <li><a href="/wiki/Shadow_puppet" class="mw-redirect" title="Shadow puppet">Shadow puppet</a> acts.</li> <li><a href="/wiki/Stilts" title="Stilts">Stilt</a> walkers.</li> <li><a href="/wiki/Strongman_(strength_athlete)" class="mw-redirect" title="Strongman (strength athlete)">Strongmen</a> such as <a href="/wiki/Eugen_Sandow" title="Eugen Sandow">Eugen Sandow</a>, and <a href="/wiki/Strongwoman" title="Strongwoman">strongwomen</a> such as <a href="/wiki/Joan_Rhodes" title="Joan Rhodes">Joan Rhodes</a>, performing <a href="/wiki/Feats_of_strength" class="mw-redirect" title="Feats of strength">feats of strength</a>.</li> <li><a href="/wiki/Trampoline" title="Trampoline">Trampoline</a> acts.</li> <li><a href="/wiki/Ventriloquism" title="Ventriloquism">Ventriloquists</a>, or Vent acts as they were called in the business, such as <a href="/wiki/Fred_Russell_(ventriloquist)" title="Fred Russell (ventriloquist)">Fred Russell</a>, <a href="/wiki/Arthur_Prince_(ventriloquist)" title="Arthur Prince (ventriloquist)">Arthur Prince</a>, <a href="/wiki/Frank_Travis" title="Frank Travis">Frank Travis</a>, Coram (Thomas Mitchell).</li> <li><a href="/wiki/Wild_West" class="mw-redirect" title="Wild West">Wild West</a>/<a href="/wiki/Cowboy" title="Cowboy">Cowboy</a> acts.</li> <li><a href="/wiki/Wrestling" title="Wrestling">Wrestling</a> and <a href="/wiki/Jujitsu" class="mw-redirect" title="Jujitsu">jujitsu</a> exhibitions were both popular speciality acts, forming the basis of modern <a href="/wiki/Professional_wrestling" title="Professional wrestling">professional wrestling</a>.</li></ul> <div class="mw-heading mw-heading2"><h2 id="Music_hall_performers">Music hall performers</h2>[<a href="/w/index.php?title=Music_hall&action=edit&section=13" title="Edit section: Music hall performers">edit</a>]</div> <figure class="mw-default-size" typeof="mw:File/Thumb"><a href="/wiki/File:1867_NationalStandardTheatre.jpg" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/c/cc/1867_NationalStandardTheatre.jpg/220px-1867_NationalStandardTheatre.jpg" decoding="async" width="220" height="287" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/c/cc/1867_NationalStandardTheatre.jpg/330px-1867_NationalStandardTheatre.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/c/cc/1867_NationalStandardTheatre.jpg/440px-1867_NationalStandardTheatre.jpg 2x" data-file-width="700" data-file-height="913" /></a><figcaption>1867 Poster from the National Standard Theatre, <a href="/wiki/Shoreditch" title="Shoreditch">Shoreditch</a> (1837–1940). Not strictly a Music Hall, but a theatre where many of these artists performed their Music Hall acts.</figcaption></figure> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1236090951"><div role="note" class="hatnote navigation-not-searchable">See also: <a href="/wiki/List_of_British_music_hall_performers" title="List of British music hall performers">List of British music hall performers</a></div> <style data-mw-deduplicate="TemplateStyles:r1184024115">.mw-parser-output .div-col{margin-top:0.3em;column-width:30em}.mw-parser-output .div-col-small{font-size:90%}.mw-parser-output .div-col-rules{column-rule:1px solid #aaa}.mw-parser-output .div-col dl,.mw-parser-output .div-col ol,.mw-parser-output .div-col ul{margin-top:0}.mw-parser-output .div-col li,.mw-parser-output .div-col dd{page-break-inside:avoid;break-inside:avoid-column}</style><div class="div-col" style="column-width: 22em;"> <ul><li><a href="/wiki/Fred_Albert" title="Fred Albert">Fred Albert</a> (1843–1886)</li> <li><a href="/wiki/Fred_Barnes_(performer)" title="Fred Barnes (performer)">Fred Barnes</a> (1885–1938)</li> <li><a href="/wiki/Ida_Barr_(music_hall)" class="mw-redirect" title="Ida Barr (music hall)">Ida Barr</a> (1882–1967)</li> <li><a href="/wiki/Bessie_Bellwood" title="Bessie Bellwood">Bessie Bellwood</a> (1856–1896)</li> <li><a href="/wiki/Herbert_Campbell" title="Herbert Campbell">Herbert Campbell</a> (1844–1904)</li> <li><a href="/wiki/Aim%C3%A9e_Campton" title="Aimée Campton">Aimée Campton</a> (1882–1930)</li> <li><a href="/wiki/Kate_Carney" title="Kate Carney">Kate Carney</a> (1869–1950)</li> <li><a href="/wiki/Harry_Champion" title="Harry Champion">Harry Champion</a> (1866–1942)</li> <li><a href="/wiki/Charlie_Chaplin" title="Charlie Chaplin">Charlie Chaplin</a> (1889–1977)</li> <li><a href="/wiki/Sydney_Chaplin" title="Sydney Chaplin">Sydney Chaplin</a> (1885–1965)</li> <li><a href="/wiki/Albert_Chevalier" title="Albert Chevalier">Albert Chevalier</a> (1861–1923)</li> <li><a href="/wiki/George_H._Chirgwin" class="mw-redirect" title="George H. Chirgwin">George H. Chirgwin</a> (1854–1922)</li> <li><a href="/wiki/Charles_Coborn" title="Charles Coborn">Charles Coborn</a> (1852–1945)</li> <li><a href="/wiki/Cullen_and_Carthy" title="Cullen and Carthy">Cullen and Carthy</a> Johnnie Cullen (1868–1929) and Arthur Carthy (1868–1943)</li> <li><a href="/wiki/Johnny_Danvers" title="Johnny Danvers">Johnny Danvers</a> (1860-1939)</li> <li><a href="/wiki/Daisy_Dormer" title="Daisy Dormer">Daisy Dormer</a> (1883–1947)</li> <li><a href="/wiki/Leo_Dryden" title="Leo Dryden">Leo Dryden</a> (1864–1939)</li> <li><a href="/wiki/T._E._Dunville" title="T. E. Dunville">T. E. Dunville</a> (1867–1924)</li> <li><a href="/wiki/Gus_Elen" title="Gus Elen">Gus Elen</a> (1862–1940)</li> <li><a href="/wiki/Joe_Elvin" title="Joe Elvin">Joe Elvin</a> (1862–1935)</li> <li><a href="/wiki/G._H._Elliott" title="G. H. Elliott">G. H. Elliott</a> (1882–1962)</li> <li><a href="/wiki/Will_Evans_(comedian)" title="Will Evans (comedian)">Will Evans</a> (1866–1931)</li> <li><a href="/wiki/Florrie_Forde" title="Florrie Forde">Florrie Forde</a> (1875–1940)</li> <li><a href="/wiki/George_Formby,_Sr." class="mw-redirect" title="George Formby, Sr.">George Formby, Sr.</a> (1876–1921)</li> <li><a href="/wiki/Harry_Fragson" title="Harry Fragson">Harry Fragson</a> (1869–1913)</li> <li><a href="/wiki/Will_Fyffe" title="Will Fyffe">Will Fyffe</a> (1885–1947)</li> <li><a href="/wiki/Charles_Godfrey_(entertainer)" title="Charles Godfrey (entertainer)">Charles Godfrey</a> (1851–1900)</li> <li><a href="/wiki/Will_Hay" title="Will Hay">Will Hay</a> (1888–1949)</li> <li><a href="/wiki/Jenny_Hill_(music_hall_performer)" title="Jenny Hill (music hall performer)">Jenny Hill</a> (1848–1896)</li> <li><a href="/wiki/Stanley_Holloway" title="Stanley Holloway">Stanley Holloway</a> (1890–1982)</li> <li><a href="/wiki/Fred_Karno" title="Fred Karno">Fred Karno</a> (1866–1941)</li> <li><a href="/wiki/Marie_Kendall" title="Marie Kendall">Marie Kendall</a> (1873–1964)</li> <li><a href="/wiki/Hetty_King" title="Hetty King">Hetty King</a> (1883–1972)</li> <li><a href="/wiki/R._G._Knowles" title="R. G. Knowles">R. G. Knowles</a> (1858–1919)</li> <li><a href="/wiki/Lillie_Langtry" title="Lillie Langtry">Lillie Langtry</a> (1853–1929)</li> <li><a href="/wiki/George_Lashwood" title="George Lashwood">George Lashwood</a> (1863–1942)</li> <li><a href="/wiki/Sir_Harry_Lauder" class="mw-redirect" title="Sir Harry Lauder">Sir Harry Lauder</a> (1870–1950)</li> <li><a href="/wiki/Stan_Laurel" title="Stan Laurel">Stan Laurel</a> (1890–1965)</li> <li><a href="/wiki/Katie_Lawrence" title="Katie Lawrence">Katie Lawrence</a> (1868–1913)</li> <li><a href="/wiki/Tom_Leamore" title="Tom Leamore">Tom Leamore</a> (1866–1939)</li> <li><a href="/wiki/Dan_Leno" title="Dan Leno">Dan Leno</a> (1860–1904)</li> <li><a href="/wiki/George_Leybourne" title="George Leybourne">George Leybourne</a> (1842–1884)</li> <li><a href="/wiki/Marie_Loftus" title="Marie Loftus">Marie Loftus</a> (1857–1940)</li> <li><a href="/wiki/Cecilia_Loftus" title="Cecilia Loftus">Cecilia Loftus</a> (1876–1943)</li> <li><a href="/wiki/Jack_Lotto" title="Jack Lotto">Jack Lotto</a> (1857–1944)</li> <li><a href="/wiki/Little_Tich" title="Little Tich">Little Tich</a> (1867–1928)</li> <li><a href="/wiki/Arthur_Lloyd_(musician)" title="Arthur Lloyd (musician)">Arthur Lloyd</a> (1839–1904)</li> <li><a href="/wiki/Marie_Lloyd" title="Marie Lloyd">Marie Lloyd</a> (1870–1922)</li> <li><a href="/wiki/Macarte_Sisters" title="Macarte Sisters">Adelaide Macarte</a> (1879–1908)</li> <li><a href="/wiki/Macarte_Sisters" title="Macarte Sisters">Cecilia Macarte</a> (1880–)</li> <li><a href="/wiki/Macarte_Sisters" title="Macarte Sisters">Julia Macarte</a> (1878–1958)</li> <li><a href="/wiki/Tom_Major-Ball" title="Tom Major-Ball">Tom Major-Ball</a> (1879–1962)</li> <li><a href="/wiki/Ernie_Mayne" title="Ernie Mayne">Ernie Mayne</a> (1871–1937)</li> <li><a href="/wiki/Mark_Melford" title="Mark Melford">Mark Melford</a> (1850–1914)</li> <li><a href="/wiki/George_Mozart" title="George Mozart">George Mozart</a> (1864–1947)</li> <li><a href="/wiki/Jolly_John_Nash" title="Jolly John Nash">Jolly John Nash</a> (1828–1901)</li> <li><a href="/wiki/Denise_Orme" title="Denise Orme">Denise Orme</a> (1885–1960)</li> <li><a href="/wiki/Edmund_Payne" title="Edmund Payne">Edmund Payne</a> (1864–1914)</li> <li><a href="/wiki/Jack_Pleasants" title="Jack Pleasants">Jack Pleasants</a> (1875–1924)</li> <li><a href="/wiki/Nelly_Power" title="Nelly Power">Nelly Power</a> (1854–1887)</li> <li><a href="/wiki/Peggy_Pryde" title="Peggy Pryde">Peggy Pryde</a> (1869–1943)</li> <li><a href="/wiki/Ella_Retford" title="Ella Retford">Ella Retford</a> (1885–1962)</li> <li><a href="/wiki/Arthur_Roberts_(comedian)" title="Arthur Roberts (comedian)">Arthur Roberts</a> (1852–1933)</li> <li><a href="/wiki/George_Robey" title="George Robey">George Robey</a> (1869–1954)</li> <li><a href="/wiki/Malcolm_Scott_(entertainer)" title="Malcolm Scott (entertainer)">Malcolm Scott</a> (1872–1929)</li> <li><a href="/wiki/Truly_Shattuck" title="Truly Shattuck">Truly Shattuck</a> (1875–1954)</li> <li><a href="/wiki/Ella_Shields" title="Ella Shields">Ella Shields</a> (1879–1952)</li> <li><a href="/wiki/Mark_Sheridan" title="Mark Sheridan">Mark Sheridan</a> (1864–1918)</li> <li><a href="/wiki/J._H._Stead" title="J. H. Stead">J. H. Stead</a> (c.1826–1886)</li> <li><a href="/wiki/Eugene_Stratton" title="Eugene Stratton">Eugene Stratton</a> (1861–1918)</li> <li><a href="/wiki/Harry_Tate" title="Harry Tate">Harry Tate</a> (1872–1940)</li> <li><a href="/wiki/Sam_Torr" title="Sam Torr">Sam Torr</a> (1849–1923)</li> <li><a href="/wiki/Vesta_Tilley" title="Vesta Tilley">Vesta Tilley</a> (1864–1952)</li> <li><a href="/wiki/Arthur_Tracy" title="Arthur Tracy">Arthur Tracy</a> (1899–1997)</li> <li><a href="/wiki/Alfred_Vance" title="Alfred Vance">Alfred Vance</a> (1839–1888)</li> <li><a href="/wiki/Vesta_Victoria" title="Vesta Victoria">Vesta Victoria</a> (1873–1951)</li> <li><a href="/wiki/Fawdon_Vokes" title="Fawdon Vokes">Fawdon Vokes</a> (1844–1904)</li> <li><a href="/wiki/Fred_Vokes" title="Fred Vokes">Fred Vokes</a> (1846–1888)</li> <li><a href="/wiki/Jessie_Vokes" title="Jessie Vokes">Jessie Vokes</a> (1848–1884)</li> <li><a href="/wiki/Rosina_Vokes" title="Rosina Vokes">Rosina Vokes</a> (1854–1894)</li> <li><a href="/wiki/Victoria_Vokes" title="Victoria Vokes">Victoria Vokes</a> (1853–1894)</li> <li><a href="/wiki/Vulcana" title="Vulcana">Vulcana</a> (1874–1946)</li> <li><a href="/wiki/Harry_Weldon_(comedian)" title="Harry Weldon (comedian)">Harry Weldon</a> (1881–1930)</li> <li><a href="/wiki/Daisy_Wood" title="Daisy Wood">Daisy Wood</a> (1877–1961) (and the Sisters Lloyd)</li> <li><a href="/wiki/Billy_Williams_(music_hall_performer)" title="Billy Williams (music hall performer)">Billy Williams</a> (1878–1915)</li></ul> </div> <div class="mw-heading mw-heading2"><h2 id="Cultural_influences_of_music_hall:_Literature,_drama,_screen,_and_later_music">Cultural influences of music hall: Literature, drama, screen, and later music</h2>[<a href="/w/index.php?title=Music_hall&action=edit&section=14" title="Edit section: Cultural influences of music hall: Literature, drama, screen, and later music">edit</a>]</div> The music hall has been evoked in many films, plays, TV series, and books. <ul><li>In <a href="/wiki/James_Joyce" title="James Joyce">James Joyce</a>'s short story "<a href="/wiki/The_Boarding_House" title="The Boarding House">The Boarding House</a>" (1914), Mrs Mooney's boarding-house in Hardwicke Street accommodates "occasionally (...) artistes from the music halls". The Sunday night "reunions" with Jack Mooney in the drawing-room create a certain atmosphere.</li> <li>About half of the film <a href="/wiki/Those_Were_the_Days_(1934_film)" title="Those Were the Days (1934 film)">Those Were the Days</a> (1934) is set in a music hall. It was based on a farce by <a href="/wiki/Arthur_Wing_Pinero" title="Arthur Wing Pinero">Pinero</a> and features the music hall acts of <a href="/wiki/Lily_Morris" title="Lily Morris">Lily Morris</a>, <a href="/wiki/Harry_Bedford_(music_hall)" title="Harry Bedford (music hall)">Harry Bedford</a>, the gymnasts <a rel="nofollow" class="external text" href="https://www.youtube.com/watch?v=5gAyRRsJ73o">Gaston & Andre</a>, <a href="/wiki/G._H._Elliott" title="G. H. Elliott">G. H. Elliott</a>, Sam Curtis, and Frank Boston & Betty.</li> <li>A music hall with a 'memory man' act provides a pivotal plot device in the classic 1935 <a href="/wiki/Alfred_Hitchcock" title="Alfred Hitchcock">Alfred Hitchcock</a> thriller <a href="/wiki/The_39_Steps_(1935_film)" title="The 39 Steps (1935 film)">The 39 Steps</a>.<a href="#cite_note-94">[94]</a></li> <li>The Arthur Askey comedy film <a href="/wiki/I_Thank_You_(film)" title="I Thank You (film)">I Thank You</a> (1941) features old-time music hall star Lily Morris as an ex-music hall artiste now ennobled as "Lady Randall". In the last scene of the film, however, she reverts to type and gives a rendition of "<a href="/wiki/Waiting_at_the_Church" title="Waiting at the Church">Waiting at the Church</a>" at an impromptu concert at <a href="/wiki/Aldwych_tube_station" title="Aldwych tube station">Aldwych tube station</a> organised by Askey and his side-kick <a href="/wiki/Richard_Murdoch" title="Richard Murdoch">Richard "Stinker" Murdoch</a>.</li> <li>The Victorian era of music hall was celebrated by the 1944 film, <a href="/wiki/Champagne_Charlie_(1944_film)" title="Champagne Charlie (1944 film)">Champagne Charlie</a>.<a href="#cite_note-95">[95]</a></li> <li>The comedy of <a href="/wiki/Benny_Hill" title="Benny Hill">Benny Hill</a>, first seen on British television in 1951, was heavily influenced by the traditions and conventions of Music hall comedy and he actively kept those traditions (comedy, songs, patter, pantomime, and female impersonations) alive on his more-than-100 television specials broadcast from 1955 through 1991.</li> <li><a href="/wiki/Charlie_Chaplin" title="Charlie Chaplin">Charlie Chaplin</a>'s 1952 film <a href="/wiki/Limelight_(1952_film)" title="Limelight (1952 film)">Limelight</a>, set in 1914 London, evokes the music hall world of Chaplin's youth where he performed as comedian before he achieved worldwide 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 <a href="/wiki/Empire,_Leicester_Square" title="Empire, Leicester Square">Empire Cinema</a>, which was built on the same site as the Empire theatre.<a href="#cite_note-96">[96]</a></li> <li><a href="/wiki/The_Good_Old_Days_(UK_TV_series)" class="mw-redirect" title="The Good Old Days (UK TV series)">The Good Old Days</a> (1953 to 1983) was a popular BBC television light entertainment programme recorded live at the <a href="/wiki/Leeds_City_Varieties" title="Leeds City Varieties">Leeds City Varieties</a>, which aimed to recreate 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 <a href="/wiki/Leonard_Sachs" title="Leonard Sachs">Leonard Sachs</a>, who introduced the acts. In the course of its run, it featured about 2,000 artists. The show was first broadcast on 20 July 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.<a href="#cite_note-97">[97]</a></li> <li><a href="/wiki/John_Osborne" title="John Osborne">John Osborne</a>'s play <a href="/wiki/The_Entertainer_(play)" title="The Entertainer (play)">The Entertainer</a> (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 <a href="/wiki/Suez_Crisis" title="Suez Crisis">Suez Crisis</a> 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 <a href="/wiki/Laurence_Olivier" title="Laurence Olivier">Laurence Olivier</a> in the title role of Archie Rice.<a href="#cite_note-98">[98]</a></li> <li>In <a href="/wiki/Grip_of_the_Strangler" class="mw-redirect" title="Grip of the Strangler">Grip of the Strangler</a> (1958), set in Victorian London, the raunchy can-can dancers and loose women of the sleazy "Judas Hole" music hall are terrorised by the Haymarket Strangler, played by <a href="/wiki/Boris_Karloff" title="Boris Karloff">Boris Karloff</a>.</li> <li>The variously titled <a href="/wiki/Ken_Dodd" title="Ken Dodd">Ken Dodd</a> TV series recorded between 1959 and 1988 were heavily influenced by those traditions; up to his death in 2018, Dodd continued to tour a variety show including quick-fire stand-up comedy, songs, ventriloquism and sometimes other speciality acts.<a href="#cite_note-99">[99]</a></li> <li>The <a href="/wiki/Theatre_of_the_Absurd" class="mw-redirect" title="Theatre of the Absurd">Theatre of the Absurd</a> (c. late 1950s) was influenced by music hall in its use of comedy, with avant-garde cultural forms (such as <a href="/wiki/Surrealism" title="Surrealism">surrealism</a>) being a more obvious influence.</li> <li><a href="/wiki/J._B._Priestley" title="J. B. Priestley">J. B. Priestley</a>'s 1965 novel <a href="/wiki/Lost_Empires" title="Lost Empires">Lost Empires</a> also evokes the world of Edwardian music hall just before the start of World War I; the title is a reference to the <a href="/wiki/Moss_Empires" title="Moss Empires">Empire theatres</a> (as well as foreshadowing the decline of the British Empire itself). It was adapted as a television miniseries, shown in both the UK and in the U.S. as a PBS presentation. Priestley's 1929 novel <a href="/wiki/The_Good_Companions" title="The Good Companions">The Good Companions</a>, set in the same period, follows the lives of the members of a "<a href="/wiki/Concert_party_(entertainment)" title="Concert party (entertainment)">concert party</a>" or touring <a href="/wiki/Pierrot_troupe" class="mw-redirect" title="Pierrot troupe">Pierrot troupe</a>.</li> <li><a href="/wiki/Herman%27s_Hermits" title="Herman's Hermits">Herman's Hermits</a>, led by <a href="/wiki/Peter_Noone" title="Peter Noone">Peter Noone</a>, incorporated music hall into their repertoire, scoring a major hit with their cover of the <a href="/wiki/Harry_Champion" title="Harry Champion">Harry Champion</a> music hall standard, "<a href="/wiki/I%27m_Henery_the_Eighth,_I_Am" title="I'm Henery the Eighth, I Am">I'm Henery the Eighth, I Am</a>", in 1965 (Noone's version includes only the chorus; not the many verses of the original).</li> <li>Music hall had a discernible influence on <a href="/wiki/The_Beatles" title="The Beatles">the Beatles</a> through <a href="/wiki/Paul_McCartney" title="Paul McCartney">Paul McCartney</a>, himself the son of a performer in the music hall tradition (Jim McCartney, who led Jim Mac's Jazz Band). Examples of McCartney's songs to display a music hall influence include: "<a href="/wiki/When_I%27m_Sixty-Four" title="When I'm Sixty-Four">When I'm Sixty-Four</a>" (1967), "<a href="/wiki/Your_Mother_Should_Know" title="Your Mother Should Know">Your Mother Should Know</a>" (1967), "<a href="/wiki/Honey_Pie" title="Honey Pie">Honey Pie</a>" (1968), and "<a href="/wiki/Maxwell%27s_Silver_Hammer" title="Maxwell's Silver Hammer">Maxwell's Silver Hammer</a>" (1969); in the solo period: "<a href="/wiki/You_Gave_Me_the_Answer" title="You Gave Me the Answer">You Gave Me the Answer</a>" (1975), and "<a href="/wiki/Baby%27s_Request" class="mw-redirect" title="Baby's Request">Baby's Request</a>" (1979).</li> <li>The parodic film <a href="/wiki/Oh!_What_a_Lovely_War" title="Oh! What a Lovely War">Oh! What a Lovely War</a> (1969), based on the stage musical <a href="/wiki/Oh,_What_a_Lovely_War!" title="Oh, What a Lovely War!">Oh, What a Lovely War!</a> (1963) by <a href="/wiki/Joan_Littlewood" title="Joan Littlewood">Joan Littlewood</a>'s <a href="/wiki/Theatre_Workshop" title="Theatre Workshop">Theatre Workshop</a>, featured the music hall turns and songs that had provided support for the British war effort in World War I.<a href="#cite_note-100">[100]</a></li> <li>The popular British television series <a href="/wiki/Upstairs,_Downstairs_(1971_TV_series)" title="Upstairs, Downstairs (1971 TV series)">Upstairs, Downstairs</a> (1971–1975) and its spin-off <a href="/wiki/Thomas_%26_Sarah" title="Thomas & Sarah">Thomas & Sarah</a> (1979) each dealt frequently with the world of the Edwardian music hall, sometimes through references to actual Edwardian era performers such as <a href="/wiki/Vesta_Tilley" title="Vesta Tilley">Vesta Tilley</a>, or to characters on the show attending performances, and other times through the experiences of the popular character <a href="/wiki/Sarah_Moffat" title="Sarah Moffat">Sarah Moffat</a>, who left domestic service several times and often ended up going on stage to support herself when she did.</li> <li>British rockers <a href="/wiki/Queen_(band)" title="Queen (band)">Queen</a> incorporated music hall styles into several of their songs, such "<a href="/wiki/Killer_Queen" title="Killer Queen">Killer Queen</a>" (1974) and "<a href="/wiki/Good_Old-Fashioned_Lover_Boy" title="Good Old-Fashioned Lover Boy">Good Old-Fashioned Lover Boy</a>" (1976).</li> <li><a href="/wiki/Garry_Bushell" title="Garry Bushell">Garry Bushell</a>'s <a href="/wiki/Punk_pathetique" title="Punk pathetique">punk pathetique</a> band, The Gonads (formed 1977), did rock versions of music hall songs. Many punk pathetique acts were indebted to the music hall tradition.</li> <li>Between 1978 and 1984, BBC television broadcast two series of programmes called The Old Boy Network.<a href="#cite_note-101">[101]</a> These featured a star (usually a music hall/variety performer, but also some younger turns like <a href="/wiki/Eric_Sykes" title="Eric Sykes">Eric Sykes</a>) performing some of their best known routines while giving a slide show of their life story. Artistes featured included <a href="/wiki/Arthur_Askey" title="Arthur Askey">Arthur Askey</a>, <a href="/wiki/Tommy_Trinder" title="Tommy Trinder">Tommy Trinder</a>, <a href="/wiki/Sandy_Powell_(comedian)" title="Sandy Powell (comedian)">Sandy Powell</a>, and <a href="/wiki/Chesney_Allen" title="Chesney Allen">Chesney Allen</a>.</li> <li>In <a href="/wiki/Vivian_Stanshall" title="Vivian Stanshall">Vivian Stanshall</a> and <a href="/wiki/Ki_Longfellow" title="Ki Longfellow">Ki Longfellow-Stanshall's</a> musical, <a href="/wiki/Stinkfoot,_a_Comic_Opera" title="Stinkfoot, a Comic Opera">Stinkfoot, a Comic Opera</a> (1985), the lead performer is an ageing music hall artiste named Soliquisto.</li> <li><a href="/wiki/Sarah_Waters" title="Sarah Waters">Sarah Waters</a>'s book <a href="/wiki/Tipping_the_Velvet" title="Tipping the Velvet">Tipping the Velvet</a> (1998) revolves around the world of music halls in the late Victorian era, and in particular around two fictional "mashers" (<a href="/wiki/Drag_kings" class="mw-redirect" title="Drag kings">drag kings</a>) named Kitty Butler and Nan King.<a href="#cite_note-102">[102]</a></li> <li>The modern Players' Theatre Club provides a brief impression of contemporary music hall in the film <a href="/wiki/The_Fourth_Angel" title="The Fourth Angel">The Fourth Angel</a> (2001), where <a href="/wiki/Jeremy_Irons" title="Jeremy Irons">Jeremy Irons</a>' character creates an alibi by visiting a show.<a href="#cite_note-103">[103]</a></li> <li>The name of music hall singer <a href="/wiki/Ida_Barr_(music_hall)" class="mw-redirect" title="Ida Barr (music hall)">Ida Barr</a> (1882–1967) was appropriated some 40 years after her death by <a href="/wiki/Chris_Green_(writer/performer)" class="mw-redirect" title="Chris Green (writer/performer)">Christopher Green</a> for an unrelated, non-<a href="/wiki/Tribute_act" title="Tribute act">tribute</a> <a href="/wiki/Drag_queen" title="Drag queen">drag act</a>.<a href="#cite_note-104">[104]</a></li> <li>The album <a href="/wiki/Between_Today_and_Yesterday" title="Between Today and Yesterday">Between Today and Yesterday</a> by <a href="/wiki/Alan_Price" title="Alan Price">Alan Price</a> (previously keyboard player for <a href="/wiki/The_Animals" title="The Animals">The Animals</a>) was influenced by pre-<a href="/wiki/Rock_%27n%27_roll" class="mw-redirect" title="Rock 'n' roll">rock 'n' roll</a> music styles, especially music hall.<a href="#cite_note-whatfrankislisteningto.negstar.com-105">[105]</a><a href="#cite_note-cherryred.co.uk-106">[106]</a></li> <li>Popular music duo <a href="/wiki/Chas_%26_Dave" title="Chas & Dave">Chas & Dave</a> did much to revive the spirit of music hall in their albums and songs throughout the 1980s. They wrote and recorded "Harry Was A Champion" – a tribute song to the stars of music hall – for their 1984 album Well Pleased.</li></ul> <div class="mw-heading mw-heading2"><h2 id="Surviving_music_halls">Surviving music halls</h2>[<a href="/w/index.php?title=Music_hall&action=edit&section=15" title="Edit section: Surviving music halls">edit</a>]</div> <figure class="mw-default-size" typeof="mw:File/Thumb"><a href="/wiki/File:Hackney_Empire,_Hackney,_E8_(3749526243).jpg" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/c/c0/Hackney_Empire%2C_Hackney%2C_E8_%283749526243%29.jpg/220px-Hackney_Empire%2C_Hackney%2C_E8_%283749526243%29.jpg" decoding="async" width="220" height="293" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/c/c0/Hackney_Empire%2C_Hackney%2C_E8_%283749526243%29.jpg/330px-Hackney_Empire%2C_Hackney%2C_E8_%283749526243%29.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/c/c0/Hackney_Empire%2C_Hackney%2C_E8_%283749526243%29.jpg/440px-Hackney_Empire%2C_Hackney%2C_E8_%283749526243%29.jpg 2x" data-file-width="2012" data-file-height="2683" /></a><figcaption>The Hackney Empire, 2009</figcaption></figure> 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 <a href="/wiki/Hackney_Empire" title="Hackney Empire">Hackney Empire</a>, an outstanding example of the late music hall period (<a href="/wiki/Frank_Matcham" title="Frank Matcham">Frank Matcham</a> 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 <a href="/wiki/Hoxton_Hall" title="Hoxton Hall">Hoxton Hall</a>, 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.<a href="#cite_note-107">[107]</a> In the neighbouring borough, Collins Music Hall (built about 1860) still stands on the north side of <a href="/wiki/Islington_Green" title="Islington Green">Islington Green</a>. The hall closed in the 1960s and currently forms part of a bookshop.<a href="#cite_note-108">[108]</a> In <a href="/wiki/Clapham" title="Clapham">Clapham</a>, <a href="/wiki/Grand_Theatre,_Clapham" class="mw-redirect" title="Grand Theatre, Clapham">The Grand</a>, originally the Grand Palace of Varieties (1900), has been restored, but its interior reflects its modern use as a music venue and nightclub.<a href="#cite_note-109">[109]</a> The <a href="/wiki/Greenwich_Theatre" title="Greenwich Theatre">Greenwich Theatre</a> 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.<a href="#cite_note-110">[110]</a> <figure class="mw-default-size mw-halign-left" typeof="mw:File/Thumb"><a href="/wiki/File:London-coliseum.jpg" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/0/0b/London-coliseum.jpg/220px-London-coliseum.jpg" decoding="async" width="220" height="293" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/0/0b/London-coliseum.jpg/330px-London-coliseum.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/0/0b/London-coliseum.jpg/440px-London-coliseum.jpg 2x" data-file-width="500" data-file-height="666" /></a><figcaption>1904 London Coliseum, Matcham theatre with London's widest proscenium arch</figcaption></figure> In the nondescript Grace's Alley, off Cable Street, <a href="/wiki/Stepney" title="Stepney">Stepney</a>, stands <a href="/wiki/Wilton%27s_Music_Hall" title="Wilton's Music Hall">Wilton's Music Hall</a>. 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.<a href="#cite_note-111">[111]</a> In June 2007, the <a href="/wiki/World_Monuments_Fund" title="World Monuments Fund">World Monuments Fund</a> added the building to its list of the world's "100 most endangered sites".<a href="#cite_note-112">[112]</a> The building was for many years on <a href="/wiki/Historic_England" title="Historic England">Historic England</a>'s <a href="/wiki/Heritage_at_Risk_Register" title="Heritage at Risk Register">Heritage at Risk Register</a>, but following its successful restoration was removed from list in 2016 and after 20 years on the register it was named as one of the successful rescues.<a href="#cite_note-113">[113]</a> The music video of the <a href="/wiki/Frankie_Goes_to_Hollywood" title="Frankie Goes to Hollywood">Frankie Goes to Hollywood</a> single "<a href="/wiki/Relax_(song)" title="Relax (song)">Relax</a>" was shot here. Many of these buildings can be seen as part of the annual <a href="/wiki/London_Open_House" class="mw-redirect" title="London Open House">London Open House</a> event.[<a href="/wiki/Wikipedia:Citation_needed" title="Wikipedia:Citation needed">citation needed</a>] There are also surviving music halls outside London, a notable example being the <a href="/wiki/Leeds_City_Varieties" title="Leeds City Varieties">Leeds City Varieties</a> (1865) with a preserved interior. This was used for many years as the setting for the BBC television variety show <a href="/wiki/The_Good_Old_Days_(UK_TV_series)" class="mw-redirect" title="The Good Old Days (UK TV series)">The Good Old Days</a>, based on the music-hall genre. The <a href="/wiki/Bradford_Alhambra" class="mw-redirect" title="Bradford Alhambra">Alhambra Theatre, Bradford</a> was built in 1914 for theatre impresario Francis Laidler, and later owned by the <a href="/wiki/Oswald_Stoll" title="Oswald Stoll">Stoll</a>-<a href="/wiki/Edward_Moss_(impresario)" title="Edward Moss (impresario)">Moss</a> Empire. It was restored in 1986, and is a fine example of the late <a href="/wiki/Edwardian_era" title="Edwardian era">Edwardian style</a>. It is now a receiving theatre for touring productions and opera.<a href="#cite_note-114">[114]</a> In <a href="/wiki/Nottingham" title="Nottingham">Nottingham</a>, the <a href="/wiki/Malt_Cross" title="Malt Cross">Malt Cross</a> music hall retains its restored cast-iron interior. It is run as a cafe bar by a Christian charitable trust promoting responsible drinking, also as the location of a safe space late at night and for operating a street pastor service. It is true to its original purpose of providing a venue for up-and-coming musical acts.<a href="#cite_note-115">[115]</a> In <a href="/wiki/Northern_Ireland" title="Northern Ireland">Northern Ireland</a>, the <a href="/wiki/Grand_Opera_House,_Belfast" title="Grand Opera House, Belfast">Grand Opera House, Belfast</a>, Frank Matcham 1895, was preserved and restored in the 1980s.<a href="#cite_note-116">[116]</a> The <a href="/wiki/Gaiety_Theatre,_Isle_of_Man" title="Gaiety Theatre, Isle of Man">Gaiety Theatre</a>, <a href="/wiki/Isle_of_Man" title="Isle of Man">Isle of Man</a> is another Matcham design from 1900<a href="#cite_note-117">[117]</a> that remains in use after an extensive restoration programme in the 1970s. In <a href="/wiki/Glasgow" title="Glasgow">Glasgow</a>, the <a href="/wiki/Britannia_Music_Hall" title="Britannia Music Hall">Britannia Music Hall</a> (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.<a href="#cite_note-118">[118]</a> One of the few fully functional music hall entertainments is at the <a href="/wiki/Brick_Lane_Music_Hall" class="mw-redirect" title="Brick Lane Music Hall">Brick Lane Music Hall</a> in a former church in <a href="/wiki/North_Woolwich" title="North Woolwich">North Woolwich</a>. The Players' Theatre Club is another group performing a Victorian-style music hall show at a variety of venues, and <a href="/wiki/The_Music_Hall_Guild_of_Great_Britain_and_America" title="The Music Hall Guild of Great Britain and America">The Music Hall Guild of Great Britain and America</a> stage music hall-style entertainments.[<a href="/wiki/Wikipedia:Citation_needed" title="Wikipedia:Citation needed">citation needed</a>] <div class="mw-heading mw-heading2"><h2 id="See_also">See also</h2>[<a href="/w/index.php?title=Music_hall&action=edit&section=16" title="Edit section: See also">edit</a>]</div> <ul><li><a href="/wiki/Cincinnati_Symphony_Orchestra" title="Cincinnati Symphony Orchestra">Cincinnati Symphony Orchestra</a></li> <li><a href="/wiki/Concert_saloon" title="Concert saloon">Concert saloon</a></li> <li><a href="/wiki/Friedrichstadt-Palast" title="Friedrichstadt-Palast">Friedrichstadt-Palast</a></li> <li><a href="/wiki/History_of_music_in_Paris" title="History of music in Paris">History of music in Paris</a></li> <li><a href="/wiki/Radio_City_Music_Hall" title="Radio City Music Hall">Radio City Music Hall</a></li> <li><a href="/wiki/Tivoli_circuit" title="Tivoli circuit">Tivoli circuit</a></li></ul> <div class="mw-heading mw-heading2"><h2 id="References">References</h2>[<a href="/w/index.php?title=Music_hall&action=edit&section=17" title="Edit section: References">edit</a>]</div> <style data-mw-deduplicate="TemplateStyles:r1239543626">.mw-parser-output .reflist{margin-bottom:0.5em;list-style-type:decimal}@media screen{.mw-parser-output .reflist{font-size:90%}}.mw-parser-output .reflist .references{font-size:100%;margin-bottom:0;list-style-type:inherit}.mw-parser-output .reflist-columns-2{column-width:30em}.mw-parser-output .reflist-columns-3{column-width:25em}.mw-parser-output .reflist-columns{margin-top:0.3em}.mw-parser-output .reflist-columns ol{margin-top:0}.mw-parser-output .reflist-columns li{page-break-inside:avoid;break-inside:avoid-column}.mw-parser-output .reflist-upper-alpha{list-style-type:upper-alpha}.mw-parser-output .reflist-upper-roman{list-style-type:upper-roman}.mw-parser-output .reflist-lower-alpha{list-style-type:lower-alpha}.mw-parser-output .reflist-lower-greek{list-style-type:lower-greek}.mw-parser-output .reflist-lower-roman{list-style-type:lower-roman}</style><div class="reflist"> <div class="mw-references-wrap mw-references-columns"><ol class="references"> <li id="cite_note-1"><a href="#cite_ref-1">^</a> <style data-mw-deduplicate="TemplateStyles:r1238218222">.mw-parser-output cite.citation{font-style:inherit;word-wrap:break-word}.mw-parser-output .citation q{quotes:"\"""\"""'""'"}.mw-parser-output .citation:target{background-color:rgba(0,127,255,0.133)}.mw-parser-output .id-lock-free.id-lock-free a{background:url("//upload.wikimedia.org/wikipedia/commons/6/65/Lock-green.svg")right 0.1em center/9px no-repeat}.mw-parser-output .id-lock-limited.id-lock-limited a,.mw-parser-output .id-lock-registration.id-lock-registration a{background:url("//upload.wikimedia.org/wikipedia/commons/d/d6/Lock-gray-alt-2.svg")right 0.1em center/9px no-repeat}.mw-parser-output .id-lock-subscription.id-lock-subscription a{background:url("//upload.wikimedia.org/wikipedia/commons/a/aa/Lock-red-alt-2.svg")right 0.1em center/9px no-repeat}.mw-parser-output .cs1-ws-icon a{background:url("//upload.wikimedia.org/wikipedia/commons/4/4c/Wikisource-logo.svg")right 0.1em center/12px no-repeat}body:not(.skin-timeless):not(.skin-minerva) .mw-parser-output .id-lock-free a,body:not(.skin-timeless):not(.skin-minerva) .mw-parser-output .id-lock-limited a,body:not(.skin-timeless):not(.skin-minerva) .mw-parser-output .id-lock-registration a,body:not(.skin-timeless):not(.skin-minerva) .mw-parser-output .id-lock-subscription a,body:not(.skin-timeless):not(.skin-minerva) .mw-parser-output .cs1-ws-icon a{background-size:contain;padding:0 1em 0 0}.mw-parser-output .cs1-code{color:inherit;background:inherit;border:none;padding:inherit}.mw-parser-output .cs1-hidden-error{display:none;color:var(--color-error,#d33)}.mw-parser-output .cs1-visible-error{color:var(--color-error,#d33)}.mw-parser-output .cs1-maint{display:none;color:#085;margin-left:0.3em}.mw-parser-output .cs1-kern-left{padding-left:0.2em}.mw-parser-output .cs1-kern-right{padding-right:0.2em}.mw-parser-output .citation .mw-selflink{font-weight:inherit}@media screen{.mw-parser-output .cs1-format{font-size:95%}html.skin-theme-clientpref-night .mw-parser-output .cs1-maint{color:#18911f}}@media screen and (prefers-color-scheme:dark){html.skin-theme-clientpref-os .mw-parser-output .cs1-maint{color:#18911f}}</style><cite class="citation magazine cs1"><a rel="nofollow" class="external text" href="https://www.timeshighereducation.com/features/culture/variety-acts-and-turns-of-the-early-1930s/2012421.article#survey-answer">"Variety Acts and Turns of the Early 1930s"</a>. <a href="/wiki/Times_Higher_Education" title="Times Higher Education">Times Higher Education</a>. 2014. Retrieved 27 April 2018.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=Times+Higher+Education&rft.atitle=Variety+Acts+and+Turns+of+the+Early+1930s&rft.date=2014&rft_id=https%3A%2F%2Fwww.timeshighereducation.com%2Ffeatures%2Fculture%2Fvariety-acts-and-turns-of-the-early-1930s%2F2012421.article%23survey-answer&rfr_id=info%3Asid%2Fen.wikipedia.org%3AMusic+hall" class="Z3988"> </li> <li id="cite_note-2"><a href="#cite_ref-2">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite class="citation web cs1"><a rel="nofollow" class="external text" href="https://www.bl.uk/learning/timeline/item106422.html">"Saturday night at the Victoria Theatre, The Graphic, October 26 1872"</a>. <a href="/wiki/British_Library" title="British Library">British Library</a>. 2018. Retrieved 27 April 2018.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=unknown&rft.btitle=Saturday+night+at+the+Victoria+Theatre%2C+The+Graphic%2C+October+26+1872&rft.pub=British+Library&rft.date=2018&rft_id=http%3A%2F%2Fwww.bl.uk%2Flearning%2Ftimeline%2Fitem106422.html&rfr_id=info%3Asid%2Fen.wikipedia.org%3AMusic+hall" class="Z3988"> </li> <li id="cite_note-3"><a href="#cite_ref-3">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite class="citation web cs1"><a rel="nofollow" class="external text" href="https://memory.loc.gov/ammem/vshtml/vsforms.html">"Forms of Variety Theater"</a>. <a href="/wiki/Library_of_Congress" title="Library of Congress">Library of Congress</a>. 1996. Retrieved 27 April 2018.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=unknown&rft.btitle=Forms+of+Variety+Theater&rft.pub=Library+of+Congress&rft.date=1996&rft_id=https%3A%2F%2Fmemory.loc.gov%2Fammem%2Fvshtml%2Fvsforms.html&rfr_id=info%3Asid%2Fen.wikipedia.org%3AMusic+hall" class="Z3988"> </li> <li id="cite_note-4"><a href="#cite_ref-4">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFHarrison1998" class="citation book cs1">Harrison, Martin (1998). <a rel="nofollow" class="external text" href="https://books.google.com/books?id=ofbGhtZyiHwC&q=%22the+boy+i+love+is+up+in+the+gallery%22+and+%22location%22&pg=PA112">The Language of Theatre</a>. <a href="/wiki/Carcanet_Press" title="Carcanet Press">Carcanet Press</a>. p. 112. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/1857543742" title="Special:BookSources/1857543742"><bdi>1857543742</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=The+Language+of+Theatre&rft.pages=112&rft.pub=Carcanet+Press&rft.date=1998&rft.isbn=1857543742&rft.aulast=Harrison&rft.aufirst=Martin&rft_id=https%3A%2F%2Fbooks.google.com%2Fbooks%3Fid%3DofbGhtZyiHwC%26q%3D%2522the%2Bboy%2Bi%2Blove%2Bis%2Bup%2Bin%2Bthe%2Bgallery%2522%2Band%2B%2522location%2522%26pg%3DPA112&rfr_id=info%3Asid%2Fen.wikipedia.org%3AMusic+hall" class="Z3988"> </li> <li id="cite_note-5"><a href="#cite_ref-5">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite class="citation web cs1"><a rel="nofollow" class="external text" href="http://www.vam.ac.uk/content/articles/t/the-story-of-music-halls/">"The Story of Music Hall: The origins of Music Hall"</a>. <a href="/wiki/Victoria_and_Albert_Museum" title="Victoria and Albert Museum">Victoria and Albert Museum</a>. 2016. Retrieved 27 April 2018.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=unknown&rft.btitle=The+Story+of+Music+Hall%3A+The+origins+of+Music+Hall&rft.pub=Victoria+and+Albert+Museum&rft.date=2016&rft_id=http%3A%2F%2Fwww.vam.ac.uk%2Fcontent%2Farticles%2Ft%2Fthe-story-of-music-halls%2F&rfr_id=info%3Asid%2Fen.wikipedia.org%3AMusic+hall" class="Z3988"> </li> <li id="cite_note-6"><a href="#cite_ref-6">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite class="citation web cs1"><a rel="nofollow" class="external text" href="http://www.vam.ac.uk/content/articles/m/music-hall-character-acts/">"Music Hall Character Acts"</a>. <a href="/wiki/Victoria_and_Albert_Museum" title="Victoria and Albert Museum">Victoria and Albert Museum</a>. 2016. Retrieved 30 April 2018.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=unknown&rft.btitle=Music+Hall+Character+Acts&rft.pub=Victoria+and+Albert+Museum&rft.date=2016&rft_id=http%3A%2F%2Fwww.vam.ac.uk%2Fcontent%2Farticles%2Fm%2Fmusic-hall-character-acts%2F&rfr_id=info%3Asid%2Fen.wikipedia.org%3AMusic+hall" class="Z3988"> </li> <li id="cite_note-7"><a href="#cite_ref-7">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite class="citation web cs1"><a rel="nofollow" class="external text" href="http://www.stagebeauty.net/th-frames.html?http&&&www.stagebeauty.net/th-muswar.html">"The Music Hall War"</a>. Stage Beauty website. 2018. Retrieved 30 April 2018.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=unknown&rft.btitle=The+Music+Hall+War&rft.pub=Stage+Beauty+website&rft.date=2018&rft_id=http%3A%2F%2Fwww.stagebeauty.net%2Fth-frames.html%3Fhttp%26%26%26www.stagebeauty.net%2Fth-muswar.html&rfr_id=info%3Asid%2Fen.wikipedia.org%3AMusic+hall" class="Z3988"> </li> <li id="cite_note-8"><a href="#cite_ref-8">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite class="citation book cs1"><a rel="nofollow" class="external text" href="https://www.pen-and-sword.co.uk/Old-Time-Variety-Hardback/p/3046">Old Time Variety</a>. <a href="/wiki/Pen_and_Sword_Books" title="Pen and Sword Books">Pen and Sword Books</a>. 2011. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/9781844681242" title="Special:BookSources/9781844681242"><bdi>9781844681242</bdi></a>. Retrieved 30 April 2018.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=Old+Time+Variety&rft.pub=Pen+and+Sword+Books&rft.date=2011&rft.isbn=9781844681242&rft_id=https%3A%2F%2Fwww.pen-and-sword.co.uk%2FOld-Time-Variety-Hardback%2Fp%2F3046&rfr_id=info%3Asid%2Fen.wikipedia.org%3AMusic+hall" class="Z3988"> </li> <li id="cite_note-9"><a href="#cite_ref-9">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite class="citation web cs1"><a rel="nofollow" class="external text" href="https://www.britannica.com/art/music-hall-and-variety">"Music hall and variety | entertainment"</a>. Encyclopedia Britannica.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=Encyclopedia+Britannica&rft.atitle=Music+hall+and+variety+%26%23124%3B+entertainment&rft_id=https%3A%2F%2Fwww.britannica.com%2Fart%2Fmusic-hall-and-variety&rfr_id=info%3Asid%2Fen.wikipedia.org%3AMusic+hall" class="Z3988"> </li> <li id="cite_note-Howard-10">^ <a href="#cite_ref-Howard_10-0">a</a> <a href="#cite_ref-Howard_10-1">b</a> Diana Howard London Theatres and Music Halls 1850–1950 (1970) </li> <li id="cite_note-11"><a href="#cite_ref-11">^</a> Barker, Kathleen, <a rel="nofollow" class="external text" href="https://archive.org/details/bha044">Early Music Hall in Bristol</a> (Bristol Historical Association pamphlets, no. 44, 1979) </li> <li id="cite_note-12"><a href="#cite_ref-12">^</a> <a rel="nofollow" class="external text" href="http://www.victorianlondon.org/publications3/nightside-25.htm">The Night Side of London: The Eagle Tavern J. Ewing Ritchie (1858)</a> accessed 1 November 2007 </li> <li id="cite_note-13"><a href="#cite_ref-13">^</a> <a rel="nofollow" class="external text" href="http://www.worldwidewords.org/qa/qa-pop1.htm">Pop Goes the Weasel World Wide Words</a> accessed 1 November 2007 </li> <li id="cite_note-making-14"><a href="#cite_ref-making_14-0">^</a> <a rel="nofollow" class="external text" href="http://www.craxford-family.co.uk/crauart1.php">The Making of the Britannia Theatre – Alan D. Craxford and Reg Moore</a> <a rel="nofollow" class="external text" href="https://archive.today/20120723024600/http://www.craxford-family.co.uk/crauart1.php">Archived</a> 23 July 2012 at <a href="/wiki/Archive.today" title="Archive.today">archive.today</a> accessed 1 November 2007 </li> <li id="cite_note-15"><a href="#cite_ref-15">^</a> <a href="/wiki/Benny_Green_(saxophonist)" title="Benny Green (saxophonist)">Benny Green</a> (ed) (1986) The Last Empires: A Music Hall Companion pp. 7 (Pavilion, 1986) <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/1-85145-061-0" title="Special:BookSources/1-85145-061-0">1-85145-061-0</a> </li> <li id="cite_note-16"><a href="#cite_ref-16">^</a> <a rel="nofollow" class="external text" href="http://www.arthurlloyd.co.uk/canterbury.htm">Canterbury Music Hall (Arthur Lloyd)</a> accessed 23 October 2007 </li> <li id="cite_note-17"><a href="#cite_ref-17">^</a> Barker, Kathleen, <a rel="nofollow" class="external text" href="https://archive.org/details/bha044/page/9/mode/2up">Early Music Hall in Bristol</a> (Bristol Historical Association pamphlets, no. 44, 1979), pp. 8-10. </li> <li id="cite_note-18"><a href="#cite_ref-18">^</a> <a rel="nofollow" class="external text" href="http://www.andreas-praefcke.de/carthalia/uk/uk_london_newlondon.htm">New London Theatre</a> accessed 31 May 2007 </li> <li id="cite_note-19"><a href="#cite_ref-19">^</a> <a rel="nofollow" class="external text" href="http://www.arthurlloyd.co.uk/Shoreditch.htm">Shoreditch Empire (Arthur Lloyd)</a> accessed 23 October 2007 </li> <li id="cite_note-20"><a href="#cite_ref-20">^</a> <a rel="nofollow" class="external text" href="http://www.arthurlloyd.co.uk/Shoreditch.htm">Royal Cambridge Music Hall (Arthur Lloyd)</a> accessed 23 October 2007 </li> <li id="cite_note-BL-21"><a href="#cite_ref-BL_21-0">^</a> <a rel="nofollow" class="external text" href="http://www.collectbritain.co.uk/personalisation/object.cfm?uid=014EVA000000000U00715000">British Library on Weston's</a> <a rel="nofollow" class="external text" href="https://web.archive.org/web/20070927232106/http://www.collectbritain.co.uk/personalisation/object.cfm?uid=014EVA000000000U00715000">Archived</a> 27 September 2007 at the <a href="/wiki/Wayback_Machine" title="Wayback Machine">Wayback Machine</a> accessed 31 March 2007 </li> <li id="cite_note-22"><a href="#cite_ref-22">^</a> <a rel="nofollow" class="external text" href="http://www.arthurlloyd.co.uk/TheOxfordMusicHall.htm">Oxford Music Hall (Arthur Lloyd)</a> accessed 23 October 2007 </li> <li id="cite_note-23"><a href="#cite_ref-23">^</a> <a rel="nofollow" class="external text" href="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</a> accessed: 24 October 2007. </li> <li id="cite_note-24"><a href="#cite_ref-24">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFSarah_Gutsche-Miller2015" class="citation book cs1">Sarah Gutsche-Miller (2015). Parisian Music-hall Ballet 1871–1913. Boydell & Brewer. p. 4. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/9781580464420" title="Special:BookSources/9781580464420"><bdi>9781580464420</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=Parisian+Music-hall+Ballet+1871%E2%80%931913&rft.pages=4&rft.pub=Boydell+%26+Brewer&rft.date=2015&rft.isbn=9781580464420&rft.au=Sarah+Gutsche-Miller&rfr_id=info%3Asid%2Fen.wikipedia.org%3AMusic+hall" class="Z3988"> </li> <li id="cite_note-25"><a href="#cite_ref-25">^</a> <a rel="nofollow" class="external text" href="http://www.arthurlloyd.co.uk/Bedford.htm">The Bedford Music Hall (Arthur Lloyd)</a> accessed 23 October 2007 </li> <li id="cite_note-26"><a href="#cite_ref-26">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite class="citation news cs1">"London Music Halls". <a href="/wiki/The_Era_(newspaper)" title="The Era (newspaper)">The Era</a>. 8 November 1863. p. 5.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=The+Era&rft.atitle=London+Music+Halls&rft.pages=5&rft.date=1863-11-08&rfr_id=info%3Asid%2Fen.wikipedia.org%3AMusic+hall" class="Z3988"> </li> <li id="cite_note-27"><a href="#cite_ref-27">^</a> <a rel="nofollow" class="external text" href="http://www.arthurlloyd.co.uk/Collins.htm">Collins Music Hall (Arthur Lloyd)</a> accessed 23 October 2007 </li> <li id="cite_note-28"><a href="#cite_ref-28">^</a> <a rel="nofollow" class="external text" href="http://www.arthurlloyd.co.uk/Gattis.htm">Gatti's In the Road, and Under the Arches, Music Halls (Arthur Lloyd)</a> accessed 23 October 2007 </li> <li id="cite_note-29"><a href="#cite_ref-29">^</a> Jerry White (2007) London in the Nineteenth Century: 280 </li> <li id="cite_note-30"><a href="#cite_ref-30">^</a> Benny Green (1986) The Last Empires: A Music Hall Companion: 42-3 </li> <li id="cite_note-31"><a href="#cite_ref-31">^</a> <a rel="nofollow" class="external text" href="http://www.arthurlloyd.co.uk/Archive/January2005/PageTwo.htm">Pages about Morton's management in feature on the theatre</a> <a rel="nofollow" class="external text" href="https://web.archive.org/web/20080706015934/http://www.arthurlloyd.co.uk/Archive/January2005/PageTwo.htm">Archived</a> 6 July 2008 at the <a href="/wiki/Wayback_Machine" title="Wayback Machine">Wayback Machine</a> (Arthur Lloyd) accessed 27 March 2008 </li> <li id="cite_note-32"><a href="#cite_ref-32">^</a> <a href="/wiki/Gavin_Weightman" title="Gavin Weightman">Gavin Weightman</a> (1992) Bright Lights, Big City: 94–95 </li> <li id="cite_note-33"><a href="#cite_ref-33">^</a> <a rel="nofollow" class="external text" href="http://www.arthurlloyd.co.uk/LondonColiseum.htm">"London Coliseum (Arthur Lloyd)"</a> accessed 24 October 2007 </li> <li id="cite_note-34"><a href="#cite_ref-34">^</a> <a rel="nofollow" class="external text" href="http://www.arthurlloyd.co.uk/LondonPalladium.htm">"London Palladium (Arthur Lloyd)"</a> accessed 24 October 2007 </li> <li id="cite_note-35"><a href="#cite_ref-35">^</a> Principally, entertainment was governed by the <a href="/wiki/Theatres_Act_1843" title="Theatres Act 1843">Theatres Act 1843</a>, but this also gave more powers to local magistrates to impose conditions. </li> <li id="cite_note-36"><a href="#cite_ref-36">^</a> <a rel="nofollow" class="external text" href="http://www.peopleplayuk.org.uk/guided_tours/music_hall_tour/the_story_of_the_music_halls/royal.php">The Royal Variety Performance</a> <a rel="nofollow" class="external text" href="https://web.archive.org/web/20071014180825/http://www.peopleplayuk.org.uk/guided_tours/music_hall_tour/the_story_of_the_music_halls/royal.php">Archived</a> 14 October 2007 at the <a href="/wiki/Wayback_Machine" title="Wayback Machine">Wayback Machine</a> (London Theatre Museum) accessed 24 October 2007 </li> <li id="cite_note-37"><a href="#cite_ref-37">^</a> <a rel="nofollow" class="external text" href="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)</a> <a rel="nofollow" class="external text" href="https://web.archive.org/web/20071124100946/http://www.peopleplayuk.org.uk/guided_tours/music_hall_tour/the_story_of_the_music_halls/strike.php">Archived</a> 24 November 2007 at the <a href="/wiki/Wayback_Machine" title="Wayback Machine">Wayback Machine</a> accessed 15 November 2007 </li> <li id="cite_note-38"><a href="#cite_ref-38">^</a> <a rel="nofollow" class="external text" href="http://www.dgillan.screaming.net/stage/th-frames.html?http&&&www.dgillan.screaming.net/stage/th-muswar.html">The Music Hall War (Stage Beauty)</a> <a rel="nofollow" class="external text" href="https://web.archive.org/web/20160303184145/http://www.dgillan.screaming.net/stage/th-frames.html?http&&&www.dgillan.screaming.net%2Fstage%2Fth-muswar.html">Archived</a> 3 March 2016 at the <a href="/wiki/Wayback_Machine" title="Wayback Machine">Wayback Machine</a> accessed 24 October 2007 </li> <li id="cite_note-39"><a href="#cite_ref-39">^</a> <a rel="nofollow" class="external text" href="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"</a> <a rel="nofollow" class="external text" href="https://web.archive.org/web/20110708071223/http://tribunehistory.blogspot.com/2007/09/strike-of-month-marie-lloyd-and-music.html">Archived</a> 8 July 2011 at the <a href="/wiki/Wayback_Machine" title="Wayback Machine">Wayback Machine</a> (Tribune magazine) 22 September 2007, accessed 25 November 2007 </li> <li id="cite_note-40"><a href="#cite_ref-40">^</a> Gillies Midge Marie Lloyd, the one and only (Gollancz, London, 1999) </li> <li id="cite_note-41"><a href="#cite_ref-41">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFDave_Russell1997" class="citation book cs1">Dave Russell (1997). <a rel="nofollow" class="external text" href="https://books.google.com/books?id=n3PHdGaUqIkC&pg=PA156">Popular Music in England 1840–1914: A Social History</a>. Manchester University Press. p. 156. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-0-7190-5261-3" title="Special:BookSources/978-0-7190-5261-3"><bdi>978-0-7190-5261-3</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=Popular+Music+in+England+1840%E2%80%931914%3A+A+Social+History&rft.pages=156&rft.pub=Manchester+University+Press&rft.date=1997&rft.isbn=978-0-7190-5261-3&rft.au=Dave+Russell&rft_id=https%3A%2F%2Fbooks.google.com%2Fbooks%3Fid%3Dn3PHdGaUqIkC%26pg%3DPA156&rfr_id=info%3Asid%2Fen.wikipedia.org%3AMusic+hall" class="Z3988"> </li> <li id="cite_note-42"><a href="#cite_ref-42">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite class="citation web cs1"><a rel="nofollow" class="external text" href="https://web.archive.org/web/20121020191013/http://www.btinternet.com/~radical/thefolkmag/vesta.htm">"Vesta Tilley Biography"</a>. 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Retrieved 5 September 2020.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=Cherryred.co.uk&rft.atitle=Alan+Price%3A+Between+Today+and+Yesterday%2C+Remastered+and+Expanded+CD+Edition&rft_id=https%3A%2F%2Fwww.cherryred.co.uk%2Fproduct%2Falan-price-between-today-and-yesterday-remastered-and-expanded-cd-edition%2F&rfr_id=info%3Asid%2Fen.wikipedia.org%3AMusic+hall" class="Z3988"> </li> <li id="cite_note-107"><a href="#cite_ref-107">^</a> <a rel="nofollow" class="external text" href="http://www.artandarchitecture.org.uk/stories/rhys-jones_hackney.html?ixsid=J7TWorWcJK9">Hackney Empire Art and Architecture</a> accessed 1 November 2007 </li> <li id="cite_note-108"><a href="#cite_ref-108">^</a> <a rel="nofollow" class="external text" href="http://www.british-history.ac.uk/report.aspx?compid=471">"Islington: Social and cultural activities"</a>, A History of the County of Middlesex: Volume 8: Islington and Stoke Newington parishes (1985), pp. 45–51, accessed: 1 November 2007 </li> <li id="cite_note-109"><a href="#cite_ref-109">^</a> The Stage Guide and Directory (1912) </li> <li id="cite_note-110"><a href="#cite_ref-110">^</a> <a rel="nofollow" class="external text" href="http://www.arthurlloyd.co.uk/Greenwich.htm">Theatres and Halls in Greenwich, London (Arthur Lloyd)</a> accessed: 1 November 2007 </li> <li id="cite_note-111"><a href="#cite_ref-111">^</a> Peter Honri John Wilton's Music Hall, The Handsomest Room in Town (1985) </li> <li id="cite_note-112"><a href="#cite_ref-112">^</a> <a rel="nofollow" class="external text" href="https://www.theguardian.com/commentisfree/story/0,,2098219,00.html">In praise of Wilton's music hall</a> <a href="/wiki/The_Guardian" title="The Guardian">The Guardian</a>, 8 June 2007 </li> <li id="cite_note-113"><a href="#cite_ref-113">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite class="citation web cs1"><a rel="nofollow" class="external text" href="https://historicengland.org.uk/advice/heritage-at-risk/20-years/wilton-s-music-hall/">"Wilton's Music Hall, London"</a>. Historic England. 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"Going to the palais: a social and cultural history of dancing and dance halls in Britain, 1918–1960." Contemporary British History (Sep 2016) 30#3 pp 432–433.</li> <li>Alexander, John, Tearing Tickets Twice Nightly: The Last Days of Variety (Arcady Press, 2002)</li> <li>Bailey, Peter, ed., Music Hall: The Business of Pleasure, (Milton Keynes, Open University Press, 1986)</li> <li>Baker, Richard Anthony, British Music Hall: An Illustrated History (Pen & Sword, 2014)</li> <li>Barker, Kathleen, <a rel="nofollow" class="external text" href="https://archive.org/details/bha044">Early Music Hall in Bristol</a> (Bristol Historical Association pamphlets, no. 44, 1979), 20 pp.</li> <li>Beeching, Christopher,The Heaviest of Swells – A life and times in the Music Halls, (DCG Publications, 2010)</li> <li>Bratton, J.S., ed., Music Hall: Performance & Style (Milton Keynes, Open University Press, 1986)</li> <li>Bruce, Frank, More Variety Days: Fairs, Fit-ups, Music hall, Variety Theatre, Clubs, Cruises and <a href="/wiki/Cabaret" title="Cabaret">Cabaret</a> (Edinburgh, Tod Press, 2000)</li> <li>Busby, Roy, British Music Hall: An Illustrated Who's Who from 1850 to the Present Day (London: <a href="/wiki/Paul_Elek" title="Paul Elek">Paul Elek</a>, 1976)</li> <li>Cheshire, D.F., Music Hall in Britain, (Newton Abbot: David & Charles, 1974)</li> <li>Earl, John, British Theatres and Music Halls (Princes Risborough, Shire, 2005)</li> <li>Earl, John and Stanton, John, The Canterbury Hall and Theatre of Varieties (Cambridge, Chadwyck-Healy 1982)</li> <li>Earl, John and Sell, Michael (eds.) The Theatres Trust Guide to British Theatres, 1750–1950 (A & C Black Publishers Ltd, 2000)</li> <li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFFarson1972" class="citation book cs1">Farson, Daniel (1972). Marie Lloyd and Music Hall. London: Tom Stacey Ltd. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-0-85468-082-5" title="Special:BookSources/978-0-85468-082-5"><bdi>978-0-85468-082-5</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=Marie+Lloyd+and+Music+Hall&rft.place=London&rft.pub=Tom+Stacey+Ltd&rft.date=1972&rft.isbn=978-0-85468-082-5&rft.aulast=Farson&rft.aufirst=Daniel&rfr_id=info%3Asid%2Fen.wikipedia.org%3AMusic+hall" class="Z3988"></li> <li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFFierro1996" class="citation book cs1">Fierro, Alfred (1996). Histoire et dictionnaire de Paris. Robert Laffont. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/2-221-07862-4" title="Special:BookSources/2-221-07862-4"><bdi>2-221-07862-4</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=Histoire+et+dictionnaire+de+Paris&rft.pub=Robert+Laffont&rft.date=1996&rft.isbn=2-221-07862-4&rft.aulast=Fierro&rft.aufirst=Alfred&rfr_id=info%3Asid%2Fen.wikipedia.org%3AMusic+hall" class="Z3988"></li> <li>Garrett, John M., Sixty Years of British Music Hall, (London, Chappell & Company in association with Andre Deutsch, 1976)</li> <li>Green, Benny, ed. The Last Empires: A Music Hall Companion (London, Pavilion Books Ltd. in association with Michael Joseph Ltd., 1986)</li> <li>Honri, Peter. John Wilton's Music Hall, The Handsomest Room in Town (1985)</li> <li>Honri, Peter. Working the Halls: the Honris in One Hundred Years of British Music Halls (Farnborough, Eng., Saxon House, 1973). <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/0-347-00013-4" title="Special:BookSources/0-347-00013-4">0-347-00013-4</a></li> <li>Howard, Diana. London Theatres and Music Halls 1850–1950 (1970)</li> <li>Hudd, Roy. Music Hall (London, Eyre Methuen, 1976)</li> <li>Jackson, Lee. Palaces of Pleasure: From Music Halls to the Seaside to Football, How the Victorians Invented Mass Entertainment (Yale University Press, 2019)</li> <li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFLee1982" class="citation book cs1">Lee, Edward (1982). Folksong and Music Hall. London: I Routledge. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/0-7100-0902-X" title="Special:BookSources/0-7100-0902-X"><bdi>0-7100-0902-X</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=Folksong+and+Music+Hall&rft.place=London&rft.pub=I+Routledge&rft.date=1982&rft.isbn=0-7100-0902-X&rft.aulast=Lee&rft.aufirst=Edward&rfr_id=info%3Asid%2Fen.wikipedia.org%3AMusic+hall" class="Z3988"></li> <li>Maloney, Paul, Scotland and the Music Hall, 1850–1914 (Manchester University Press, 2003)</li> <li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFManderJoe_Mitchenson1965" class="citation book cs1">Mander, Raymond; Joe Mitchenson (1965). British Music Hall. London: Studio Vista. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/0-85614-036-8" title="Special:BookSources/0-85614-036-8"><bdi>0-85614-036-8</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=British+Music+Hall&rft.place=London&rft.pub=Studio+Vista&rft.date=1965&rft.isbn=0-85614-036-8&rft.aulast=Mander&rft.aufirst=Raymond&rft.au=Joe+Mitchenson&rfr_id=info%3Asid%2Fen.wikipedia.org%3AMusic+hall" class="Z3988"></li> <li>Mellor, G.J., The Northern Music Hall (Newcastle upon Tyne, Frank Graham, 1970)</li> <li>Mellor, G.J., They Made us Laugh: A Compendium of Comedians Whose Memories Remain Alive (Littleborough, George Kelsall, 1982)</li> <li>Mullen, John, "The Show Must Go On: Popular Song in Britain during the First World War" (London, Routledge, 2015)</li> <li>O'Gorman, Brian, Laughter in the Roar: Reminiscences of Variety and Pantomime (Weybridge, B. O'Gorman, 1998)</li> <li>Scott, Harold, The Early Doors: origins of the music hall (London, Nicholson & Watson 1946)</li> <li>Stuart, C D and Park, A J, The Variety Stage (London, Unwin 1895)</li> <li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFWilliams1954" class="citation book cs1"><a href="/wiki/Bransby_Williams" title="Bransby Williams">Williams, Bransby</a> (1954). Bransby Williams by Himself. London: Hutchinson. <a href="/wiki/OCLC_(identifier)" class="mw-redirect" title="OCLC (identifier)">OCLC</a> <a rel="nofollow" class="external text" href="https://search.worldcat.org/oclc/2227654">2227654</a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=Bransby+Williams+by+Himself&rft.place=London&rft.pub=Hutchinson&rft.date=1954&rft_id=info%3Aoclcnum%2F2227654&rft.aulast=Williams&rft.aufirst=Bransby&rfr_id=info%3Asid%2Fen.wikipedia.org%3AMusic+hall" class="Z3988"></li> <li>Wilmut, Roger. Kindly Leave the Stage – The story of Variety 1919–1960 (London, Methuen 1985)</li></ul> </div> <div class="mw-heading mw-heading2"><h2 id="External_links">External links</h2>[<a href="/w/index.php?title=Music_hall&action=edit&section=19" title="Edit section: External links">edit</a>]</div> <style data-mw-deduplicate="TemplateStyles:r1235681985">.mw-parser-output .side-box{margin:4px 0;box-sizing:border-box;border:1px solid #aaa;font-size:88%;line-height:1.25em;background-color:var(--background-color-interactive-subtle,#f8f9fa);display:flow-root}.mw-parser-output .side-box-abovebelow,.mw-parser-output .side-box-text{padding:0.25em 0.9em}.mw-parser-output .side-box-image{padding:2px 0 2px 0.9em;text-align:center}.mw-parser-output .side-box-imageright{padding:2px 0.9em 2px 0;text-align:center}@media(min-width:500px){.mw-parser-output .side-box-flex{display:flex;align-items:center}.mw-parser-output .side-box-text{flex:1;min-width:0}}@media(min-width:720px){.mw-parser-output .side-box{width:238px}.mw-parser-output .side-box-right{clear:right;float:right;margin-left:1em}.mw-parser-output .side-box-left{margin-right:1em}}</style><style data-mw-deduplicate="TemplateStyles:r1237033735">@media print{body.ns-0 .mw-parser-output .sistersitebox{display:none!important}}@media screen{html.skin-theme-clientpref-night .mw-parser-output .sistersitebox img[src*="Wiktionary-logo-en-v2.svg"]{background-color:white}}@media screen and (prefers-color-scheme:dark){html.skin-theme-clientpref-os .mw-parser-output .sistersitebox img[src*="Wiktionary-logo-en-v2.svg"]{background-color:white}}</style><div class="side-box side-box-right plainlinks sistersitebox"><style data-mw-deduplicate="TemplateStyles:r1126788409">.mw-parser-output .plainlist ol,.mw-parser-output .plainlist ul{line-height:inherit;list-style:none;margin:0;padding:0}.mw-parser-output .plainlist ol li,.mw-parser-output .plainlist ul li{margin-bottom:0}</style> <div class="side-box-flex"> <div class="side-box-image"><img alt="" src="//upload.wikimedia.org/wikipedia/en/thumb/4/4a/Commons-logo.svg/30px-Commons-logo.svg.png" decoding="async" width="30" height="40" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/en/thumb/4/4a/Commons-logo.svg/45px-Commons-logo.svg.png 1.5x, //upload.wikimedia.org/wikipedia/en/thumb/4/4a/Commons-logo.svg/59px-Commons-logo.svg.png 2x" data-file-width="1024" data-file-height="1376" /></div> <div class="side-box-text plainlist">Wikimedia Commons has media related to <a href="https://commons.wikimedia.org/wiki/Category:Music_hall" class="extiw" title="commons:Category:Music hall">Music hall</a>.</div></div> </div> <ul><li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite class="citation web cs1"><a rel="nofollow" class="external text" href="http://www.vam.ac.uk/page/m/music-hall/">"A History of Music Halls"</a>. Theatre and Performance. <a href="/wiki/Victoria_and_Albert_Museum" title="Victoria and Albert Museum">Victoria and Albert Museum</a>. Retrieved 15 February 2011.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=Theatre+and+Performance&rft.atitle=A+History+of+Music+Halls&rft_id=http%3A%2F%2Fwww.vam.ac.uk%2Fpage%2Fm%2Fmusic-hall%2F&rfr_id=info%3Asid%2Fen.wikipedia.org%3AMusic+hall" class="Z3988"></li> <li><a rel="nofollow" class="external text" href="http://www.vam.ac.uk/collections/theatre_performance/resources/reading_lists/music-hall/index.html">Theatre and performance reading lists – Music Hall and Variety</a> <a rel="nofollow" class="external text" href="https://web.archive.org/web/20100112012010/http://www.vam.ac.uk/collections/theatre_performance/resources/reading_lists/music-hall/index.html">Archived</a> 12 January 2010 at the <a href="/wiki/Wayback_Machine" title="Wayback Machine">Wayback Machine</a> <a href="/wiki/Victoria_and_Albert_Museum" title="Victoria and Albert Museum">Victoria and Albert Museum</a></li> <li><a rel="nofollow" class="external text" href="http://www.music-hall-society.com/">The British Music Hall Society</a></li> <li><a rel="nofollow" class="external text" href="http://www.themusichallguild.com/">The Music Hall Guild of Great Britain and America</a></li> <li><a rel="nofollow" class="external text" href="http://www.arthurlloyd.co.uk/index.html">Arthur Lloyd (performer) site</a> links to transcriptions of historical sources on performances and venues</li> <li><a rel="nofollow" class="external text" href="http://www.victorianlondon.org/frame-entertainment.htm">The "Entertainment" section of www.victorianlondon.org</a></li> <li><a rel="nofollow" class="external text" href="https://web.archive.org/web/19990203033529/http://www.rfwilmut.clara.net/musichll/musich.html">Remastered recordings of music hall artists</a></li> <li><a rel="nofollow" class="external text" href="https://www.academia.edu/3388602">University lecture on women in the British music hall during the Great War 1914–1918</a></li></ul> <div class="navbox-styles"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1129693374"><style data-mw-deduplicate="TemplateStyles:r1236075235">.mw-parser-output .navbox{box-sizing:border-box;border:1px solid #a2a9b1;width:100%;clear:both;font-size:88%;text-align:center;padding:1px;margin:1em auto 0}.mw-parser-output .navbox .navbox{margin-top:0}.mw-parser-output .navbox+.navbox,.mw-parser-output .navbox+.navbox-styles+.navbox{margin-top:-1px}.mw-parser-output .navbox-inner,.mw-parser-output .navbox-subgroup{width:100%}.mw-parser-output .navbox-group,.mw-parser-output .navbox-title,.mw-parser-output .navbox-abovebelow{padding:0.25em 1em;line-height:1.5em;text-align:center}.mw-parser-output .navbox-group{white-space:nowrap;text-align:right}.mw-parser-output .navbox,.mw-parser-output .navbox-subgroup{background-color:#fdfdfd}.mw-parser-output .navbox-list{line-height:1.5em;border-color:#fdfdfd}.mw-parser-output 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