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Product Details
| ISBN-13: | 9781497659070 |
|---|---|
| Publisher: | Open Road Media |
| Publication date: | 07/01/2014 |
| Sold by: | Barnes & Noble |
| Format: | eBook |
| Pages: | 158 |
| Sales rank: | 818,153 |
| File size: | 4 MB |
About the Author
One of twelve children of Italian immigrant parents, Ann Corio was a prominent American burlesque stripper and actress. Born Ann Coiro on November 29, 1909, in Hartford, Connecticut, the change of her surname was motivated by her choice of profession and her family’s disapproval of it. Her rise to stardom began with her involvement with the Mutual Burlesque Circuit in 1925, eventually making her one of the most popular risqué actresses of the time. Corio later appeared in films and plays, and on the radio and TV, eventually putting together her own off-Broadway show, This Was Burlesque, in 1962. In 1968, she wrote a book with the same title. Corio died on March 1, 1999, at the age of eighty-nine in Englewood, New Jersey.
Joseph DiMona has been called by the New York Times “an example of the successful collaborator whose own name may be as recognizable as the subject’s.” In addition to his collaborations with controversial figures such as H. R. Halderman (The Ends of Power) and Dr. Noguchi (Coroner), he has written bestselling novels, including Last Man at Arlington and To the Eagle’s Nest.
Read an Excerpt
This Was Burlesque
By Ann Corio, Joseph DiMona
OPEN ROAD INTEGRATED MEDIA
Copyright © 1968 Ann Corio and Joseph DiMonaAll rights reserved.
ISBN: 978-1-4976-5907-0
CHAPTER 1
Setting the pattern
It all began with Aristophanes
IS BURLESQUE BAWDY? YES. IS IT LOVABLE? Yes. Is it durable? Most decidedly yes. It's been with us one hundred years in this country, and its roots go all the way back to ancient Greece.
Few people know the real story of burlesque, and that's one reason I'm writing this book. They don't realize that burlesque for centuries has been a legitimate branch of show business. I'll admit it's the lowest branch, but that's the limb nearest the people. Its ancestral father was one of the greatest classic play-wrights of all time, Aristophanes.
Aristophanes was the first to satirize people, human tragedies, and contemporary ideas and events. He laughed at the world in his plays, and he made people laugh, too. And that's what burlesque means. It comes from the Italian word burlare, which means "to laugh at, to make fun of."
In Lysistrata, for example, the heroine organized a women's peace association (oh, how a modern burlesque comic would love that name). The association was composed of the wives of Athenian warriors, who shut themselves up in the Acropolis away from their husbands until the Peloponnesian War was terminated. What they were saying, two thousand years before the hippies, was, "Make love, not war."
Aristophanes freely used puns, gags, and wisecracks in his plays. What's more, he played up sensual descriptions and introduced the seduction theme into the theatre. The risqué elements that have always been a part of burlesque can also be credited to old Aristophanes, who must have been quite a character around the Acropolis. Where was he during the Peloponnesian War? He wasn't making war.
Burlesque first appeared in the English language in a play entitled The Most Lamentable Comedy and Most Cruel Death of Pyramus and Thisbie, produced in London in 1600. It set the pattern for all the lusty satires and parodies to follow.
Of these, the most famous may be The Beggar's Opera, by John Gay. First produced at the Lincoln's Inn Theatre in 1727, it apparently tore old London town apart. The Archbishop of Canterbury preached a sermon against it; Sir John Fielding, the Police justice, officially begged the manager not to present it on Saturday evenings, as it would "inspire the idle apprentices of London, who see it on their night off, to imitate its heroes' thieving deeds." Someone named Dr. Wharton condemned it as "the parent of that most monstrous of all absurdities, the comic opera."
Needless to say, with notices like these, the play was a smash; and in 1750 it traveled to the New World. In those days in New York you had to shoulder Indians aside to get into a theatre, but thousands of Americans did. It was presented at a theatre on Nassau Street as a "play written in ridicule of the musical Italian drama."
What with one war and another, American playwrights didn't get on the ball until almost seventy-five years later. But when they did, they ran with it. One of the great, little-known talents in the history of the theatre is a playwright named John Brougham. At the time he was called the American Aristophanes.
No wonder. This man had a way with words and a genius for comedy. He delighted in taking Shakespearian classics, as well as current dramas of the time, and burlesquing them. He was so successful that such actors as the great Edwin Booth would often journey downtown to recreate their legitimate roles in a Brougham spoof.
When they didn't, other actors would do the job for them, as an actor named Forrest learned to his regret. Forrest was appearing in a legitimate play uptown, while his burlesque counterpart imitated him downtown. Listen to this report:
As Beppo, made up in a very clever imitation of Forrest as the Gladiator, and enormously padded, he strutted about the stage for many moments, entirely unconscious of a large carving fork stuck into the sawdust which formed the calf of his gladiatorial leg. His look of agony and his roar of anguish–perfect reflections of Forrest's voice and action–when his attention was called to his physical suffering made one of the most ludicrous scenes in the whole history of American burlesque.
But Brougham went beyond visual comedy; he was a master of language, too. As a critic writing in Harper's Magazine in 1895 said, "Until the fall of the curtain, the scintillations of wit and the thunder of puns were incessant and startling."
The following exchange may give you some idea:
"May I ask in the word lie,
What vowel do you use, sir,
I or Y?"
"Y, sir, or I, sir, search the vowels through And find the one most consonant to you."
Later the King cries:
"Sergeant-at-arms, say, what alarms the crowd?
Loud noise annoys us; why is it allowed?"
Yes, words were fine, especially in Brougham's plays, but the shape of things to come in burlesque was found not on a printed page–but on a horse. On June 7, 1861, Adah Isaacs Menken, a girl with a beautiful figure, appeared in tights while strapped to a living horse in a play based on Byron's poem, "Mazeppa."
Scandal! Preachers piously fulminated against loose women in tights (a contradiction, if you ask me). But Adah had brought something new to burlesque, and it didn't take theatrical promoters long to grasp the idea. Soon there appeared the most notorious burlesque of its time, The Black Crook, featuring "the Amazon Parade of legs."
This was almost too much for one of the critics of the day. "All for what?" he wrote. "A display of brilliant costumes, or rather an absence of them; crowds of girls set in array and posturing so as to bring out every turn and play of the limbs. Throughout it was simply a parade of indecency artistically placed upon the stage, with garish lights to quicken the senses and inflame the passions." Sounds to me as if that critic was "quickened" and "inflamed" himself. I can always tell.
The Beggar's Opera, John Brougham, Adah Isaacs Menken, and The Black Crook were just prelude. Burlesque in America at the time was just a small offshoot of show business. The girl whom everyone credits with the establishment of burlesque as an American institution was about to arrive. She came from England, and her name was Lydia Thompson. One hundred years later, I want to salute Lydia and her gorgeous, bouncy British Blondes. Without her, I might not be writing this book today, for there would be no story to write.
Here come the British Blondes!
WEEKS BEFORE LYDIA THOMPSON'S ARRIVAL, the anticipation was building. She would be the first English actress in history to bring to the United States an entire company of her own. And what a company: beautiful, flirtatious blondes who revealed everything you could reveal within the framework of tights; a battery of young blondes, staring eagerly across the footlights, acting in lusty plays in which sex was the theme. Whoopee! Americans–especially those with bald heads–could hardly wait.
And they were not without help in the anticipation department. In fact, they were teased to death. Lydia's press agent worked overtime in England sending out releases which were printed in American journals as gospel truth. Here is an account of her reception in Europe:
At Helsingfors her pathway was strewn with flowers and the streets illuminated with torches carried by her ardent admirers. At Cologne, the students insisted on sending the horses about their business and drawing the carriage that contained the object of their devotions themselves. At Riga and other Russian towns it became almost a universal custom to exhibit her portrait on one side of the stove to correspond with that of the Czar on the other side. At Lember, a Captain Ludoc Baumbarten of the Russian dragoons, took some flowers and a glove belonging to Miss Thompson, placed them on his breast; then shot himself through the heart, leaving on his table a note stating that his love for her brought on the fatal act.
New York was deluged with pictures of seductive Lydia. In those days, pinups were in the form of cigarette card reproductions, and every jolly bartender had them tacked up around the saloon mirrors. Some showed her in tights; others in short pants or a white dress with a tall painted white hat and umbrella.
Lydia had become famous in London after a spectacular duel in which the weapons were dancing shoes. The story goes that a Spanish beauty named Perea Nina was creating a sensation in London, performing Latin dances. In the press, Miss Nina was wise enough to stir up even more interest by announcing that no English girl could master the intricate technique of the Latin dance.
Lydia Thompson, at that time a relatively unknown actress, challenged Perea to a duel on stage. Lydia won, matching and outmatching her Latin rival's every step and pirouette. The English press was ecstatic.
Showing a true Englishwoman's spirit, she vindicated the honor of her country while demonstrating perfection in a type of dancing heretofore deemed impossible for an English artiste to acquire.
Lydia became the idol of the Empire – and the ever-present promoters moved in. Samuel Colville, an American manager, and Alexander Henderson, who was also Lydia's husband, decided to assemble a troupe called the "British Blondes" with Lydia as the star, and company manager. The Blondes included some other noted beauties of the English stage: Pauline Markham of the Queen's Theatre; Lisa Weber of Covent Garden; and Ada Harland of the Strand Theatre.
The long-awaited engagement of Lydia Thompson and the British Blondes precipitated a barrage of criticism–and long, long lines at the box office. The year was 1869. Wood's Theatre, which would be the location of the heralded debut, was renovated at a cost of thirty thousand dollars. Ixion, Ex-King of Thessaly by F. C. Burand was the opening attraction. One historian says that it was a "dull, juvenile story about miscellaneous mortals and jumbled mythology." But it sounds pretty lively to me.
The ex-King lxion, played by shapely Lydia, is invited to Mount Olympus where he meets among others, Juno, Venus, Neptune, the Three Graces, the Nine Muses–and sundry English and French sailors. What were sailors doing on Mt. Olympus? Why did Lydia play a man's role and look shapely? Who knows.
But the show must have been fun, because it was an immediate hit–and it ran in New York and around the country for ten years. Even the critics, in trying to blast the show, made it sound inviting. Here are some of the unfriendly reviews:
It is impossible to give an idea of this sustained burlesque. It resembles an Irish stew as one minute they are dancing a cancan and the next singing a psalm tune. It is a bewilderment of limbs, bella donna, and grease paint.
And another:
To represent Minerva with a fan and whiskey fiask, Jupiter as a jig dancer, Venus with a taste for the cancan, is all done, we suppose, in a laudable spirit of burlesque, but we could almost hate Miss Thompson and her assistants for spoiling this pretty story.
On the prudery front. one writer took dead aim at the lively eyes of the blondes: That a large number of actresses are virtuous, does not prevent vice from flourishing to an alarming extent in "the profession," and this being the case, how can one wonder at a number of girls regarding the stage as a means of arriving at infamous luxury, and endeavoring to attract the notice of those who are in a position to gratify their aspirations, by displaying their beauties to the utmost advantage?
Later on in this same review, the author gives his impression of the audience. Quite an impression! It reveals the possible origin of the bald-head row of my day.
When one regards the rows of bald heads, palsied jaws, pendulous cheeks and bleared eyes in the stalls, and the raffish blackguardism in the rest of the house, one is inclined to dispute the use of the word "public."
What did the Blondes have that drew the men with pendulous cheeks and bleared eyes? They looked like advertisements for a diet drink. In those days men preferred their beauties to be voluptuous, a tradition going back to the Italian Renaissance. It was a tradition that did not die easily. Years later, a touring burlesque show was still advertising for chorus girls, and specifying that no girl under 150 pounds need apply. Whether you think they were voluptuous–or just plump–the Blondes had pazazz. No doubt about it. And the lady with the most was, unquestionably, the redoubtable Lydia. Here is Lydia in her prime, the way one reporter saw her:
Lydia Thompson is simply irresistible. She is very brilliant in appearance, and full of piquancy. Brightness in everything is the term which best describes her style. Whether talking, singing, dancing, or indulging in grotesquerie, she is always fascinating.
Elsewhere in the review, the reporter alluded to the success of the show.
The British Blondes' career is too well known to require more than a passing word. They opened in New York and made a success almost unparalleled in the dramatic history of the city, having appeared for forty-five consecutive weeks to overflowing houses. For the three final nights of their stay at Niblo's Garden, the receipts amounted to nearly $6,000.
Their tour throughout the country has likewise been one continued triumph. They have attracted crowded audiences in every city in which they have appeared. In Chicago the rank and fashion of the city attended their performances, and all endorsed the opinion formed elsewhere of the individual talent and collective completeness of the troupe.
Lydia Thompson and her British Blondes toured this country to such acclaim for ten years. In doing so, she made burlesque an American institution, known and loved in every city in the land. It wasn't until World War II's Lend Lease program that we repaid this debt to the British. And even then, President Roosevelt didn't acknowledge it. If no one minds, I'll do it for him.
Mr. Weber, meet Mr. Fields
IN THE LATE 1800S, A MAN NAMED MICHAEL B. Leavitt revolutionalized burlesque. For centuries, burlesque had been presented as plays, or farces. Leavitt created a burlesque show. The opening he borrowed from the minstrel show, cleverly replacing the endmen with girls. The "olio" consisting of vaudeville acts was the second act. The grand finale was a burlesque farce in the classic tradition.
Leavitt billed his first show as Mme. Rentz's Female Minstrels, and his star was one of the greatest soubrettes ever to be associated with burlesque. Stories are told of gentlemen admirers engaging in fist fights and tumbling onto the stage while Mabel Rentz was doing her act. She must have been the very mistress of suggestion, for in those days the sight of a bare ankle was all that was allowed. A fellow actor named John Henshaw described one of Mabel's triumphs:
We had advertised that we were going to put on the cancan. Mabel did this number and when the music came to the dum-de-dum she raisedher foot just about twelve inches, whereupon the entire audience hollered, "Whooo!" It set them crazy. Yes. Just that little gesture–the slight suggestion. It became the talk of the town.
Burlesque shows were now springing up in all quarters, and poor Mr. Leavitt soon had a dozen rival companies on the road. One of these was the Ada Richmond Burlesquers, and today it is remembered in burlesque history only because of two comedians who started in show business with the troupe. Their names: Lew Weber and Joe Fields.
They were not the first of the straight man–comic teams but they almost instantly became the most famous. They were forerunners of generation after generation of two-man comedy teams, from Gallagher and Shean, to Abbott and Costello, to Martin and Lewis, to the Smothers Brothers.
As I write these words I remember my friend, the late A. J. Liebling, one of the finest journalists America has ever produced, and one of the greatest burlesque buffs. He and his wife used to come to our show time after time–and afterwards Joe Liebling would delight in cornering our comics and straight men in the Reno Bar–the Lower East Side Sardi's–and asking them to describe their techniques.
Joe couldn't get over Connie Ryan, our straight man at the time. Indeed, Connie could have posed for a pattern of all straight men who ever played burlesque. He was sharply dressed, a flower in his button-hole (always useful for gags), his hair slicked back, shoes pointed–in Joe Liebling's words, "He must kill them in Dayton." The classic straight man was just that: a Main Street sharpie with the girls at his feet.
(Continues...)
Excerpted from This Was Burlesque by Ann Corio, Joseph DiMona. Copyright © 1968 Ann Corio and Joseph DiMona. Excerpted by permission of OPEN ROAD INTEGRATED MEDIA.
All rights reserved. No part of this excerpt may be reproduced or reprinted without permission in writing from the publisher.
Excerpts are provided by Dial-A-Book Inc. solely for the personal use of visitors to this web site.
Table of Contents
- Dedication
- Contents
- Setting the pattern
- The golden era of burlesque
- A pretty girl is like a melody
- The decline and fall of burlesque
- Burlesque returns
- Acknowledgments
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