Popular Musical Theatre in London and Berlin: 1890 to 1939 PDF
Preview Popular Musical Theatre in London and Berlin: 1890 to 1939
POPULAR MUSICAL THEATRE IN LONDON AND BERLIN InthedecadesbeforetheSecondWorldWar,popularmusicaltheatre wasoneofthemostinfluentialformsofentertainment.Thisisthefirst book to reconstruct early popular musical theatre as a transnational and highly cosmopolitan industry that included everything from revues and operettas to dance halls and cabaret. Bringing together contributorsfromBritainandGermany,thiscollectionmovesbeyond nationaltheatrehistoriestostudyAnglo-Germanrelationsataperiod of intense hostility and rivalry. Chapters frame the entertainment zonesofLondonandBerlinagainstthewidertradingroutesofcultural transfer, where empire and transatlantic song and dance produced, perhapsforthefirsttime,agenuinelyinternationalculture.Exploring adaptationsandtranslationsofworksundertheinfluenceofpolitical propaganda,thiscollectionwillbeofinterestbothtomusicaltheatre enthusiastsandtothoseinterestedinthewiderhistoryofmodernism. len platt isProfessorofModernLiteratureatGoldsmithsCollege, University of London. His research interests are modern literature, JamesJoyceandpopularmusicaltheatre,andhispublicationsinclude JamesJoyce:TextsandContexts(2011),ModernismandRace(ed.2011), Joyce,Raceand‘FinnegansWake’(2006),MusicalComedyontheWest EndStage,1890–1939(2004)andAristocraciesofFiction(2001). tobias becker is a lecturer at the Freie Universität Berlin. His researchfocusesuponthehistoryofpopularcultureandurbanhistory inEuropeinthenineteenthandtwentiethcenturiesandhispublica- tions include Inszenierte Moderne: Populäres Theater in Berlin und London 1880–1930 (2014) and Die Stadt der tausend Freuden: Vergnu¨gungskultur um 1900 (ed. with Anna Littmann and Johanna Niedbalski,2011). david linton is a theatre practitioner and an associate lecturer at Goldsmiths College, University of London. His research interests include multidisciplinary participatory arts practice, popular musical theatre, black performance and the formation and representation of nationalandculturalidentities. POPULAR MUSICAL THEATRE IN LONDON AND BERLIN 1890–1939 edited by LEN PLATT, TOBIAS BECKER AND DAVID LINTON UniversityPrintingHouse,Cambridgecb28bs,UnitedKingdom CambridgeUniversityPressispartoftheUniversityofCambridge. Itfurtherstheuniversity’smissionbydisseminatingknowledgeinthepursuitof education,learningandresearchatthehighestinternationallevelsofexcellence. www.cambridge.org Informationonthistitle:www.cambridge.org/9781107051003 ©CambridgeUniversityPress2014 Thispublicationisincopyright.Subjecttostatutoryexception andtotheprovisionsofrelevantcollectivelicensingagreements, noreproductionofanypartmaytakeplacewithoutthewritten permissionofCambridgeUniversityPress. Firstpublished2014 PrintedintheUnitedKingdombyTJInternationalLtd.Padstow,Cornwall AcataloguerecordforthispublicationisavailablefromtheBritishLibrary LibraryofCongressCataloguinginPublicationdata PopularmusicaltheatreinLondonandBerlin,1890to1939/[editedby]LenPlatt, TobiasBeckerandDavidLinton. pages cm isbn978-1-107-05100-3(hardback) 1. Musicaltheater–England–London–History–20thcentury. 2. Musicaltheater– England–London–History–19thcentury. 3. Musicaltheater–Germany–Berlin– History–20thcentury. 4. Musicaltheater–Germany–Berlin–History–19th century. 5. London(England)–Sociallifeandcustoms–20thcentury. 6. London (England)–Sociallifeandcustoms–19thcentury. 7. Berlin(Germany)–Sociallife andcustoms–20thcentury. 8. Berlin(Germany)–Sociallifeandcustoms–19th century. I. Platt,Len,editor. II. Becker,Tobias,editor. III. Linton,David,1967– ml1731.8.l7p67 2014 792.609421009041–dc23 2014010868 isbn978-1-107-05100-3Hardback CambridgeUniversityPresshasnoresponsibilityforthepersistenceoraccuracyof urlsforexternalorthird-partyinternetwebsitesreferredtointhispublication, anddoesnotguaranteethatanycontentonsuchwebsitesis,orwillremain, accurateorappropriate. Contents Listoffigures pagevii Listofcontributors viii Acknowledgements xii Noteonthetext xiv Introduction 1 LenPlatt,TobiasBeckerandDavidLinton parti: the mechanics of transfer and translation 23 1 Berlin/London:London/Berlin–anoutlineofcultural transfer1890–1914 25 LenPlatt 2 Localcontextsandgenreconstructioninearlycontinental musicaltheatre 44 MarionLinhardt 3 GermanoperettaintheWestEndandonBroadway 62 DerekB.Scott 4 TheArcadiansandFilmzauber–adaptationandthepopular musicaltheatretext 81 TobiasBecker 5 HowasweetViennesegirlbecameafairinternationallady: transfer,performance,modernity–actsinthemakingofa cosmopolitanculture 102 StefanFrey 6 ‘Ahappymancanliveinthepast’–musicaltheatretransferin the1920sand1930s 118 LenPlattandTobiasBecker v vi Contents partii: atlantic traffic 133 7 ‘Hullo,Ragtime!’ WestEndrevueandtheAmericanisation ofpopularcultureinpre-1914London 135 PeterBailey 8 TheArgentinetango:atransatlanticdanceontheEuropean stage 153 KerstinLange 9 DoverStreettoDixieandthepoliticsofculturaltransfer andexchange 170 DavidLintonandLenPlatt 10 Thetransculturalityofstage,songandothermedia: intermedialityinpopularmusicaltheatre 187 CarolinStahrenbergandNilsGrosch partiii: representation in transition – cultural transfer/stage others 201 11 TheSandowGirlandhersisters:Edwardianmusicalcomedy, culturaltransferandthestagingofthehealthyfemalebody 203 VivGardner 12 WestEndmusicaltheatreandtherepresentationofGermany 224 LenPlatt 13 TheTropicalExpressinNaziGermany 242 SusannLewerenz 14 OperettaandpropagandaintheThirdReich:culturalpolitics andtheMetropol-Theater 258 MatthiasKauffmann Selectbibliography 274 Indexofnames 277 Indexofplays 282 Figures Theauthorandpublishersacknowledgethefollowingsourcesofcopyright materialandaregratefulforthepermissionsgranted.Whileeveryefforthasbeen made,ithasnotalwaysbeenpossibletoidentifythesourcesofallmaterialused, ortotraceallcopyrightholders.Ifanyomissionsarebroughttoournotice,we willbehappytoincludetheappropriateacknowledgementsonreprinting. 1.1 TheBerlinproductionofDieGeisha(1897). page31 4.1 LondonproductionofTheArcadians(withinset)/Berlin productionofTheArcadians. 90 4.2 OscarSaboasAdalbertMusenfettandLisaWeiseasFränze PapendieckinFilmzauberattheBerlinerTheaterin1912. GeorgeGrossmithJrasMaxDalyandEmmyWehlenas WinifredintheLondonadaptationTheGirlontheFilm, whichpremieredin1913attheGaietyTheatre. 92 5.1 LilyElsieandBertramWallisdancingthe‘staircase-waltz’ fromTheCountofLuxembourg,‘thehighlightoftheshow’. 106 5.2 TheDollarPrincess,Daly’sTheatre(1909). 111 9.1 FlorenceMillsandthe‘DuskyVamps’withWillVodreyand hisOrchestra.DoverStreettoDixie(1923). 177 10.1 PromotionforaComedianHarmonistsconcertthattook placeon16February1932inthePotsdamConcertHall. 194 10.2 AdvertisementforODEON,c.December1928/January1929. 195 11.1 TheGymnasiumscene,TheDairymaids(1906). 209 11.2 CarrieMooreastheSandowGirl. 212 11.3 MaudeOdell. 213 11.4 TheSandowGirls. 216 11.5 TheSandowGirls.HultonArchive/Stringer/GettyImages. 217 12.1 StereotypesofGermany:TheGirlsofGottenberg(1907). 230 12.2 No-ShirtsonparadeinSwingAlong(1929). 237 vii Contributors peter bailey is Professor Emeritus at the University of Manitoba, Canada. He is a leading social and cultural historian of modern Britain withresearchinterestsinleisure,popularcultureandsexuality;Victorian music hall; the twentieth-century variety stage and jazz in Britain. His publications include Popular Culture and Performance in the Victorian City (1998), Music Hall: The Business of Pleasure (1986) and Leisure and ClassinVictorianEngland:RationalRecreationandtheContestforControl, 1830–1885(1978). tobias becker isalecturerattheFreieUniversitätBerlinandresearcher in the DFG/AHRC-Project ‘West End and Friedrichstraße. Popular Musical Theatre in London and Berlin 1890 to 1939’. Research interests includeEuropeanhistoryinthenineteenthandtwentiethcenturies,the history of popular culture and urban history. His publications include Die Stadt der tausend Freuden: Vergnu¨gungskultur um 1900 (edited with Anna Littmann and Johanna Niedbalski, 2011). His book on popular theatre, Inszenierte Moderne: Populäres Theater in Berlin und London 1880–1930,willbepublishedinsummer2014. stefan frey is a writer, broadcaster, lecturer, dramaturge and director. He was assistant director at the Deutschen Schauspielhaus Hamburg, Landestheater Tübingen and Thüringer Landestheater Rudolstadt, where he directed several productions including Lehár’s Paganini. Founder and artistic director of the ‘Theater in der Tenne’, Maierhöfen, he was also head of the Studio Theatre of the Institute for TheatreStudiesatMunichUniversity2004–6.Since2006,Freyhasbeen a lecturer at the Institute and at the Theater-Akademie ‘August Everding’. He has written radio features, an operetta and two books on Lehár: Franz Lehár oder das schlechte Gewissen der leichten Musik (1995) and ‘Was sagt ihr zu diesem Erfolg’ – Franz Lehár und die Unterhaltungsmusik des 20. Jahrhunderts (1999). He has also written viii
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