Edwardian musical comedy is a genre of British

musical theatre Musical theatre is a form of theatre, theatrical performance that combines songs, spoken dialogue, acting and dance. The story and emotional content of a musical – humor, pathos, love, anger – are communicated through words, music, ...

that thrived from 1892 into the 1920s, extending beyond the reign of King

Edward VII Edward VII (Albert Edward; 9 November 1841 – 6 May 1910) was King of the United Kingdom and the British Dominions, and Emperor of India, from 22 January 1901 until Death and state funeral of Edward VII, his death in 1910. The second child ...

in both directions. It began to dominate the English musical stage, and even the American musical theatre, when the

Gilbert and Sullivan Gilbert and Sullivan refers to the Victorian-era theatrical partnership of the dramatist W. S. Gilbert (1836–1911) and the composer Arthur Sullivan (1842–1900) and to the works they jointly created. The two men collaborated on fourteen com ...

operas' dominance had ended, until the rise of American musicals by

Jerome Kern Jerome David Kern (January 27, 1885 – November 11, 1945) was an American composer of musical theatre and popular music. One of the most important American theatre composers of the early 20th century, he wrote more than 700 songs, used in over ...

Rodgers and Hart Rodgers and Hart were an American songwriting partnership between composer Richard Rodgers (1902–1979) and the lyricist Lorenz Hart (1895–1943). They worked together on 28 stage musicals and more than 500 songs from 1919 until Hart's ...

George Gershwin George Gershwin (; born Jacob Gershwine; September 26, 1898 – July 11, 1937) was an American composer and pianist whose compositions spanned jazz, popular music, popular and classical music. Among his best-known works are the songs "Swan ...

and

Cole Porter Cole Albert Porter (June 9, 1891 – October 15, 1964) was an American composer and songwriter. Many of his songs became Standard (music), standards noted for their witty, urbane lyrics, and many of his scores found success on Broadway the ...

following the

First World War World War I or the First World War (28 July 1914 – 11 November 1918), also known as the Great War, was a World war, global conflict between two coalitions: the Allies of World War I, Allies (or Entente) and the Central Powers. Fighting to ...

. Between '' In Town'' in 1892 and ''

The Maid of the Mountains ''The Maid of the Mountains'', called in its original score a musical play, is an operetta or "Edwardian" musical comedy in three acts. The music was by Harold Fraser-Simson, with additional music by James W. Tate, lyrics by Harry Graham a ...

'', premiering in 1917, this new style of musical theatre proliferated across the musical stages of Britain and the rest of the English-speaking world. The popularity of ''In Town'' and '' A Gaiety Girl'' (1893), led to an astonishing number of hits over the next three decades, into the 1920s, the most successful of which included ''

The Shop Girl ''The Shop Girl'' was an Edwardian musical comedy in two acts (described by the author as a musical farce) written by Henry J. W. Dam, with lyrics by Dam and Adrian Ross and music by Ivan Caryll, and additional numbers by Lionel Monckton and Ro ...

'' (1894), '' The Geisha'' (1896), ''

Florodora ''Florodora'' is an Edwardian musical comedy. After its long run in London, it became one of the first successful Broadway theatre, Broadway musicals of the 20th century. The book was written by Jimmy Davis under the pseudonym Owen Hall, the mus ...

'' (1899), '' A Chinese Honeymoon'' (1901), '' The Earl and the Girl'' (1903), '' The Arcadians'' (1909), '' Our Miss Gibbs'' (1909), '' The Quaker Girl'' (1910), '' Betty'' (1914), '' Chu Chin Chow'' (1916) and ''The Maid of the Mountains'' (1917).

History

Edwardian musical comedy began in the last decade of the

Victorian era In the history of the United Kingdom and the British Empire, the Victorian era was the reign of Queen Victoria, from 20 June 1837 until her death on 22 January 1901. Slightly different definitions are sometimes used. The era followed the ...

and captured the optimism, energy and good humour of the new century and the

Edwardian era In the United Kingdom, the Edwardian era was a period in the early 20th century that spanned the reign of King Edward VII from 1901 to 1910. It is commonly extended to the start of the First World War in 1914, during the early reign of King Ge ...

, as well as providing comfort to audiences seeking light entertainment during the First World War. The Gaiety Theatre's well-loved but racy burlesques were coming to the end of their popularity, and so was the phenomenally successful series of family-friendly

operas. These two genres had dominated the musical stage in English-speaking countries since the 1870s. A few lighter, more romantic

comic opera Comic opera, sometimes known as light opera, is a sung dramatic work of a light or comic nature, usually with a happy ending and often including spoken dialogue. Forms of comic opera first developed in late 17th-century Italy. By the 1730s, a ne ...

s, beginning with '' Dorothy'' (1886) found success and showed that audiences wanted something lighter than operetta, but more coherent in construction than burlesque, that featured humour, romance and modern fashions and culture of the day that would attract both a male and female audience.; Hyman, Alan, ''The Gaiety Years'', London: Cassell (1975), p. 64

George Edwardes

The father of the Edwardian musical was George "The Guv'nor" Edwardes. He took over London's Gaiety Theatre in the 1880s and, at first, improved the quality of the Gaiety Theatre's earlier burlesques. Perceiving that their time had passed, he experimented with a modern-dress, family-friendly musical theatre style, with breezy, popular songs, snappy, romantic banter, and stylish spectacle. These drew on the traditions of Savoy opera and also used elements of burlesque and of Americans Harrigan and Hart. Their plots were simple, and they included elaborate displays of contemporary fashion and settings, and lighthearted parody of modern social convention and topical issues. He replaced the bawdy women of burlesque with his "respectable" corps of dancing, singing Gaiety Girls who wore the latest fashions, and also showed off their bodies in chorus lines and bathing attire, as well as singing, to complete the musical and visual fun. These shows were immediately widely copied at other London theatres and then in America. The first Edwardian musical comedy was '' In Town'' in 1892. Its success, together with the even greater sensation of '' A Gaiety Girl'' in 1893, confirmed Edwardes on the path he was taking."Gaiety Theatre"
, ArthurLloyd theatre site"Musical Comedy"
, Musicals Tour at PeoplePlayUK theatre site These "musical comedies", as he called them, revolutionized the London stage and set the tone for the next three decades. According to musical theatre writer Andrew Lamb, "The British Empire and America began to fall for the appeal of the dwardianmusical comedy from the time when '' A Gaiety Girl'' was taken on a world tour in 1894." Edwardes' early Gaiety hits included a series of light, romantic "poor maiden loves aristocrat and wins him against all odds" shows, usually with the word "Girl" in the title. After ''A Gaiety Girl'' came ''

'' (1894), ''

The Circus Girl ''The Circus Girl'' is a Edwardian musical comedy in two acts with a book by James T. Tanner and Walter Apllant (Palings), lyrics by Harry Greenbank and Adrian Ross, music by Ivan Caryll, and additional music by Lionel Monckton.

'' (1896) and '' A Runaway Girl'' (1898) and eleven other "girl" musicals followed. The heroines were independent young women who often earned their own livings. The stories followed a familiar plot line – a chorus girl breaks into high society or a shop girl makes a good marriage to a wealthy aristocrat (who is often in disguise). There was always a misunderstanding during act one and an engagement at the end. In the words of a contemporary review, Edwardes' musicals were "Light, bright and enjoyable." Later Gaiety Theatre "girl" musicals included '' The Orchid'' (1903), '' The Spring Chicken'' (1905), '' The Girls of Gottenberg'' (1907), '' Our Miss Gibbs'' (1909), '' The Sunshine Girl'' (1912) and '' The Girl on the Film'' (1913). Perhaps to balance the "girl" musicals, the Gaiety also presented a series of what could be described as "boy" musicals, such as '' The Messenger Boy'' (1900), '' The Toreador'' (1901), '' The New Aladdin'' (1906) and '' Theodore and Co. (1916)''. Edwardes expanded his empire to other theatres and presented slightly more complex comedy hits beginning with ''

An Artist's Model ''An Artist's Model'' is a two-act musical theatre, musical by Owen Hall, with lyrics by Harry Greenbank and music by Sidney Jones (composer), Sidney Jones, with additional songs by Joseph and Mary Watson, Paul Lincke, Frederick Ross, Henry Hamilt ...

'' (1895). '' The Geisha'' (1896) and '' San Toy'' (1899) each ran for more than two years and found great international success, capitalizing on the British craze for all things oriental. Other Edwardes hits included '' The Girl from Kays'' (1902), '' The Earl and the Girl'' (1903) and '' The Quaker Girl'' (1910).

Composers, writers, producers and stars

The chief glories of Edwardian musical comedies lie in their musical scores. At their best, these combined the delicacy and sophistication of operetta with the robust tunefulness of the

music hall Music hall is a type of British theatrical entertainment that was most popular from the early Victorian era, beginning around 1850, through the World War I, Great War. It faded away after 1918 as the halls rebranded their entertainment as Varie ...

. The major composers of the genre were Sidney Jones ('' The Geisha''), Ivan Caryll ('' Our Miss Gibbs''), Lionel Monckton ('' The Quaker Girl''), Howard Talbot ('' A Chinese Honeymoon''), Leslie Stuart (''

'') and Paul Rubens ('' Miss Hook of Holland''). Scores were constantly refreshed with "additional" or "specialty" numbers and re-arranged, often by several different composers and lyricists, to keep audiences coming back. Important writers included

Adrian Ross Arthur Reed Ropes (23 December 1859 – 11 September 1933), better known under the pseudonym Adrian Ross, was a prolific English writer of lyrics, contributing songs to more than sixty British musical comedies in the late 19th and early 20th ...

, Harry Greenbank, Percy Greenbank, Owen Hall, Charles H. Taylor and Oscar Asche. Generally, the book, lyrics and music were each written by different people, which was a first for the musical stage, although now this is the usual way of doing things. Adrian Ross wrote the lyrics for well over 50 Edwardian musicals. Besides Edwardes, American producer

Charles Frohman Charles Frohman (July 15, 1856 – May 7, 1915) was an American theater manager and producer, who discovered and promoted many stars of the American stage. Frohman produced over 700 shows, and among his biggest hits was '' Peter Pan'', both ...

and actor-managers like Seymour Hicks, Robert Evett and

George Grossmith, Jr. George Grossmith Jr. (11 May 1874 – 6 June 1935) was an English actor, theatre producer and Actor-manager, manager, director, playwright and songwriter, best remembered for his work in and with Edwardian musical comedies. Grossmith was also a ...

were responsible for many of these shows. The musicals were frequently built around a resident company of artists, and the greatest stars of the era included actresses Marie Tempest, Gertie Millar, Lily Elsie,

Ellaline Terriss Mary Ellaline Terriss, Lady Hicks (born Mary Ellaline Lewin, 13 April 1871 – 16 June 1971), known professionally as Ellaline Terriss, was a popular British actress and singer, best known for her performances in Edwardian musical comedies. Sh ...

and Phyllis Dare, leading men such as

Hayden Coffin Charles Hayden Coffin (22 April 1862 – 8 December 1935) was an English actor and singer known for his performances in many famous Edwardian musical comedies, particularly those produced by George Edwardes. Hayden achieved fame as Harry Sher ...

and Harry Grattan, and comics such as Rutland Barrington, George Grossmith, Jr., Huntley Wright and

Edmund Payne Edmund James "Teddy" Payne (14 December 1863 – 15 July 1914), was an English actor, comedian and singer best known for creating comic roles in a series of extremely successful Edwardian musical comedies. He was often paired with the comic act ...

. One critic wrote of Joseph Coyne that, like other stars of musical comedy, "It is no good their pretending to be any one else. We go to see themselves, and all we ask is that the authors and others shall give them every chance of being themselves in the most pronounced and personal fashion".

Examples

'' The Arcadians'' is generally regarded as the masterpiece of the genre. The composers were Monckton and Talbot, both at the height of their powers. The story, about the havoc wreaked when truth-telling Arcadians arrive in corrupt London, neatly parallels the position of Edwardian musical comedies in theatrical history, with

operetta Operetta is a form of theatre and a genre of light opera. It includes spoken dialogue, songs and including dances. It is lighter than opera in terms of its music, orchestral size, and length of the work. Apart from its shorter length, the oper ...

-singing Arcadians, representing the past, meeting with

-singing Londoners, representing the future. This is an example of a common feature of shows of this period: sophistication with a common touch. Floropgm1900

'' (1899) by Leslie Stuart and Paul Rubens made a splash on both sides of the Atlantic, as did '' A Chinese Honeymoon'' (1901), by British lyricist George Dance and American-born composer Howard Talbot, which ran for a record setting 1,074 performances in London and 376 in New York. The story concerns couples who honeymoon in China and inadvertently break the kissing laws (shades of ''

The Mikado ''The Mikado; or, The Town of Titipu'' is a comic opera in two acts, with music by Arthur Sullivan and libretto by W. S. Gilbert, their ninth of fourteen Gilbert and Sullivan, operatic collaborations. It opened on 14 March 1885, in London, whe ...

''). Later enormously popular hits included '' Chu Chin Chow'' (1916), which ran for 2,238 performances (more than twice as many as any previous musical), '' Theodore & Co'' (1916), '' The Boy'' (1917), '' Yes, Uncle! (1917)'' and ''

'' (1917, the second longest-running Edwardian musical, with 1,352 performances). Audiences wanted light and uplifting entertainment during the war, and these shows delivered it. George M. Cohan's sentimental '' Little Nellie Kelly'' (1922) was considered a late example of Edwardian musical comedy."Little Nellie Kelly" in Thomas Hischak, ed., ''The Oxford Companion to the American Musical'' (Oxford University Press, 2009)

Media

References

Bibliography *Charlton, Fraser
Article on the rise of Edwardian musical comedyDescription of Edwardes' musicals
at PeoplePlayUK.org *Kenrick, John

at Musicals101.com, The Cyber Encyclopedia of Musical Theatre, Films and Television

at Hobbyist.co.uk *Wearing, J. P. ''The London Stage, 1910–1919: A Calendar of Players and Plays'', Scarecrow Press (1982)

External links

British Musical Theatre
– biographies, synopses and MIDI files

{{Webarchive, url=https://web.archive.org/web/20180630005207/http://www.dgillan.screaming.net/stage/th-main.html , date=2018-06-30 – Extensive information about female stars from Edwardian musical theatre

* ttp://www.gsarchive.net/british/musicals.html#b British musicals and light opera site MIDI files, cast lists, and usually also lyrics, of approximately 200 musicals
Synopses, libretti and MIDI files of Edwardian Musical Comedies
Musical theatre Victorian culture Edwardian era