Sharon Ammen
- Published in print:
- 2016
- Published Online:
- September 2017
- ISBN:
- 9780252040658
- eISBN:
- 9780252099090
- Item type:
- book
- Publisher:
- University of Illinois Press
- DOI:
- 10.5406/illinois/9780252040658.001.0001
- Subject:
- Music, History, American
Before Sophie Tucker “corked up” to entertain her audiences with ragtime songs in “Negro dialect” and before Fanny Brice stumbled into the footlights in her rendition of the “Dying Swan,” the ...
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Before Sophie Tucker “corked up” to entertain her audiences with ragtime songs in “Negro dialect” and before Fanny Brice stumbled into the footlights in her rendition of the “Dying Swan,” the reigning queen of comedy and song on the American stage was May Irwin. A performer in both vaudeville and the legitimate stage, Irwin was also known as an accomplished homemaker and loving mother, a political activist, a real estate tycoon, and a prolific writer of articles, composer of songs, and author of a popular cookbook. This book is the first full-length study of Irwin and focuses on the strategies she used to remain successful, both personally and publicly, throughout a long life. Her success far exceeded those of her contemporaries, even though she was involved in often controversial political activities such as suffragism and pacifism. As a female comic, she made fun of the dominant male culture by anchoring her more radical views with domestic feminism.Using her body weight as a source of self-deprecating humor, she nevertheless retained an aura of attractiveness. One of the first celebrity chefs, she filled her cookbook with jokes and songs. Irwin is identified closely with the birth of the “coon” song and may have been forgotten because of the racism associated with what was undeniably popular American music from the 1890s through the 1920s. The author delves into the audience response to Irwin’s performances, both in her coon shouting and in her character work in musical farce.Less
Before Sophie Tucker “corked up” to entertain her audiences with ragtime songs in “Negro dialect” and before Fanny Brice stumbled into the footlights in her rendition of the “Dying Swan,” the reigning queen of comedy and song on the American stage was May Irwin. A performer in both vaudeville and the legitimate stage, Irwin was also known as an accomplished homemaker and loving mother, a political activist, a real estate tycoon, and a prolific writer of articles, composer of songs, and author of a popular cookbook. This book is the first full-length study of Irwin and focuses on the strategies she used to remain successful, both personally and publicly, throughout a long life. Her success far exceeded those of her contemporaries, even though she was involved in often controversial political activities such as suffragism and pacifism. As a female comic, she made fun of the dominant male culture by anchoring her more radical views with domestic feminism.Using her body weight as a source of self-deprecating humor, she nevertheless retained an aura of attractiveness. One of the first celebrity chefs, she filled her cookbook with jokes and songs. Irwin is identified closely with the birth of the “coon” song and may have been forgotten because of the racism associated with what was undeniably popular American music from the 1890s through the 1920s. The author delves into the audience response to Irwin’s performances, both in her coon shouting and in her character work in musical farce.
Ethan Mordden
- Published in print:
- 2021
- Published Online:
- September 2021
- ISBN:
- 9780190877958
- eISBN:
- 9780190877989
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/oso/9780190877958.003.0010
- Subject:
- Music, Popular
This chapter explores the British musical in the 1960s. It begins by considering how Lionel Bart's successful Fings Ain't Wot They Used T'Be (1960), Oliver! (1960), Blitz! (1962), and Maggie May ...
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This chapter explores the British musical in the 1960s. It begins by considering how Lionel Bart's successful Fings Ain't Wot They Used T'Be (1960), Oliver! (1960), Blitz! (1962), and Maggie May (1964) form a cornerstone in the history of the British Musical. Indeed, Bart left his mark on the era, partly through a renewed interest in adapting classics and partly in a yen for experimentation. In fact, the first British concept musical came along just a year after Oliver! In the form of Monty Norman and Wolf Mankowitz's Belle; or, The Ballad of Dr. Crippen (1961). Belle was one of the quirkiest shows of its time, but then the concept musical is quirky by nature, as witnessed by Stop the World—I Want To Get off (1961). Most experimental of all during this period was Joan Littlewood's Oh What a Lovely War (1963). Despite all this experimentation, the comedy musical was still vital; the Whitehall Theatre added to its series of sex farces with a musical farce, Come Spy With Me (1966), a spoof of James Bond thrillers starring drag artist Danny La Rue.Less
This chapter explores the British musical in the 1960s. It begins by considering how Lionel Bart's successful Fings Ain't Wot They Used T'Be (1960), Oliver! (1960), Blitz! (1962), and Maggie May (1964) form a cornerstone in the history of the British Musical. Indeed, Bart left his mark on the era, partly through a renewed interest in adapting classics and partly in a yen for experimentation. In fact, the first British concept musical came along just a year after Oliver! In the form of Monty Norman and Wolf Mankowitz's Belle; or, The Ballad of Dr. Crippen (1961). Belle was one of the quirkiest shows of its time, but then the concept musical is quirky by nature, as witnessed by Stop the World—I Want To Get off (1961). Most experimental of all during this period was Joan Littlewood's Oh What a Lovely War (1963). Despite all this experimentation, the comedy musical was still vital; the Whitehall Theatre added to its series of sex farces with a musical farce, Come Spy With Me (1966), a spoof of James Bond thrillers starring drag artist Danny La Rue.
