Tag Archives: vaudeville

Hammerstein’s Hand in Vaudeville – Koster & Bial’s Music Hall

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In our discussions of early Broadway musical theater shows, we get easily caught up in the contents of the plot, characters, or even the actors that are featured in them. However, not a lot has been said about the places where these performances take place. Enter Koster & Bial’s Music Hall in New York City, New York – the performance hall once endorsed by Oscar Hammerstein that eventually sizzled and burned. 

Previously located at 135 W. 34th Street, the music hall, which opened on November 14th, 1892, was once named The Manhattan Opera House. The opera house was operated by American lyricist and librettist Oscar Hammerstein, known for and regarded highly as an iconic figure and contributor to the American musical theater scene. In less than a year, Hammerstein acknowledged the failure of his scheme to house high-class opera at the site and ceded management of the facility to John Koster and Albert Bial. Koster and Bial, seasoned operators of a successful music hall and beer garden at W. 23rd Street and 6th Avenue, brought their proven formula of variety shows and alcoholic beverages to the newly renamed Koster and Bial’s Music Hall. The transition took place on August 28, 1893, just two days after the closure of their previous establishment. 

Koster & Bial’s Music Hall advertisement, 1896.

The poster above is an advertisement that was published in 1896, a few years after the music hall transitioned to Koster & Bial’s management. It depicts a vaudeville-esque “showgirl” with black hair, roses, and an exotic-patterned dress. Vaudeville’s acts incorporated musical comedy, dance, burlesque, satire, and circus elements. Ensembles in vaudeville depict “everyday man” characters, who frolicked onstage to cater to mass audiences from the 1800s to the 1930s. This art form ties back to the early origins of musical theater in America, with shows like Show Boat (which we previously discussed in class). The shift from opera to vaudeville marked a turning point, reflecting the broader evolution of American theater from elitist art forms to more accessible, populist entertainment. The advertisement above serves as a visual reminder of this transformation—highlighting the theatrical energy and mass appeal that defined the era. Ultimately, Koster & Bial’s Music Hall not only helped popularize vaudeville but also laid the groundwork for the diverse and dynamic musical theater that would follow, influencing future Broadway productions like Show Boat and beyond.

WORKS CITED

“Coster and Bial’s Music Hall.” Cinema Treasures, www.cinematreasures.org/theaters/14770.

“Vaudeville Advertisement for Koster & Bial’s Music Hall, New York, 1896.” The Library of Congress, loc.gov/pictures/item/2014637286/. 

 

Josephine Baker: Success Across the Pond

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Among the most famous Black performers of the vaudeville era is Josephine Baker. According to an article in the newspaper “Plaindealer” from Topeka, Kansas, she had a career as a chorus girl in America, but her career really took off when she brought her unique dancing to Europe. The focus of this article is the raging success of Black American performers with European audiences, even while they remained unknown in the US.

One thing I found notable about the description of Baker in this newspaper article was the focus on her appearance, which is brought up multiple times. Here is an excerpt from the beginning of the article:

“… it has been said that she was the greatest drawing card in the old world. Tall and slender, a teasing, tantalizing brown, she has swept the men completely off their feet.”

This quote, describing the color of her skin alone as “teasing,” illuminates to me how there is an element of exoticism in Baker’s success. The writers don’t describe her as just beautiful, but as if the way she looks is a mischievous invitation. This is quickly confirmed upon doing a quick search of the act that she became famous for in Paris, which involved her dancing in just a short skirt of bananas and a beaded necklace, and is very uncomfortable to watch due to its undeniably racist and objectifying nature. I am reminded of Lott’s “Love and Theft,” and the idea of fascination with Black bodies as motivation for minstrelsy. Not only is she admired for her skill, but also as a spectacle.

Despite the dehumanizing themes of Baker’s performances that disturb us looking back, the benefit to her is obvious. The newspaper article writes:

“From poverty and obscurity in the United States, Josephine ‘Black Bottomed’ her way to fame and wealth abroad […] She toured country after country until her name blazed forth on every newspaper”

In light of this success, Baker’s choice to become a French citizen in 1937 makes sense. Even after her success in France and across Europe, Baker was met with negative press upon her return to the US. The newspaper article from “Plaindealer” closes with a thought on why this might be. According to the author, America is bereft of opportunity for Black performers, even if their talent is recognized. In Europe however, opportunity and recognition converge to allow Black performers to reach their true potential in front of receptive audiences.

Jeffers, Beda. “Is Europe Haven for Sepia Theatrical Stars?” Plaindealer, vol. XLV, no. 43, 15 Nov. 1930, p 1-2. URL.
Josephine Baker. “Biography – The Official Licensing Website of Josephine Baker.” Accessed October 16, 2024. http://www.cmgww.com/stars/baker/about/biography/.

Music as a Tool for Change: Black Music Opportunities in the Early 20th Century

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As I was searching for sources to write about this week, I stumbled upon “The Appeal,” which was a moderately successful African-American Newspaper for nearly four decades until 1923, based out of St. Paul, Minnesota. African-American Newspapers were newspapers published specifically for black communities in the 19th and 20th centuries. At the time “The Appeal” was founded, there were only around 1500 black people in the twin-cities area.1 Because of this, “The Appeal” was targeted to a much larger demographic than just black residents in Minnesota, and became popular throughout the country.

While I was searching for music related topics within “The Appeal,” I noticed something interesting. By 1906, the New England Conservatory had started advertising in nearly every issue of “The Appeal.”2 This suggests that by 1906 at the latest, the New England Conservatory was seeking out black students to study music on the east coast. This is particularly notable given that many colleges wouldn’t even enroll black students until much later in the 20th century. St. Olaf’s first black graduate was in 1935, Princeton’s was in 1947, and University of Alabama’s wasn’t until 1965. The New England Conservatory’s first black graduate was Rachel M. Washington, who graduated in 1872, just five years after the conservatory was founded.3 Dr. Martin Luther King Jr.’s wife Coretta Scott King was also a graduate of the New England Conservatory much more recently in history.

“Popular Composers. Young Afre-Americans Who Have Attained Great Successes with Songs” – The Appeal

Another article from “The Appeal” highlights the work of Bob Cole and the Johnson Brothers.4 Rosamond Johnson also graduated from the New England Conservatory, while his brother James was a graduate of Atlanta University and a recipient of a doctorate from Colombia according to “The Appeal.” James wrote the lyrics and Rosamond composed the music of “Lift Every Voice and Sing,” which is known today as the “Black National Anthem.”

Bob Cole partnered with the Johsnon brothers to create their own vaudeville act. Their entertaining pop music is the focus of a column in “The Appeal.” Cole and the Johsnon Brothers took advantage of a society that was obsessed with Minstrelsy and black entertainment, and produced music that fought against the pejorative and negative stereotypes usually portrayed in the genre. All three men were early civil rights activists, and they used music to express their views in a way that white audiences wanted to engage with.

In the late 19th and early 20th centuries, there were not many opportunities for black people to achieve upward social mobility in the white-supremacist framework of the United States. However, with minstrelsy and black music in such high demand, many black people were able to use music to gain an education, a livelihood, and further their political messages. In the years immediately after the reconstruction, music was a driving factor towards equality for black people in America.

 

“Painting & Music”: Fine Art in 1830s America

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The manager of the Baltimore Museum bought an advertisement in the Baltimore Patriot on November 4th, 1831, to publicize an upcoming event, shedding light on the role of music in antebellum American society. The manager wished to advertise an exhibition that would be occurring at the museum that Saturday night at which Francis Johnson and his military band would be performing, in order that “amatures [sic] and connoisseurs in fine painting” alike would be able to enjoy “the concord of sweet sounds” of the live music.1

This advertisement reveals several details about the role of music, and art in general, in American society in the early nineteenth century. At the time, bands like Johnson’s could not distribute their music by recording. Instead, their profits came from performing live. While many ensembles, especially Johnson’s band, put on their own concerts, this article demonstrates that they also performed at events that were not necessarily dedicated concerts but simply required some musical accompaniment. Music could be combined with the experience of viewing paintings for the greater enjoyment of “amatures and connoisseurs” alike, indicating that while this was a social function, it was more about the sensory experience than about asserting the upper class identity of those who had the luxury to consider themselves “connoisseurs”. This was the same tradition of live performance that minstrel shows and vaudeville would evolve from, and the combination of different forms of entertainment in one event for convenience and accessibility actually resembles these later traditions.2 The manager of the museum describes Johnson and his band as “famous” and “excellent” and advertises that they would “perform many of the most popular and justly celebrated pieces of instrumental music”, which was a feature of much of the American concert music of the early nineteenth century. Bands and even early American orchestras would mix high-brow music with more popular and fashionable music, drawing very diverse crowds as a result.3 However, money was still a factor for the artists, and just as Johnson’s band relied on public support, the success of this museum was “so much indebted to the liberal patronage” of the public.1

By playing popular music at public events like this art exhibition in addition to their own concerts, ensembles like Johnson’s band could draw audiences from a variety of backgrounds, garnering attention for their music as well as for the art displayed at the museum. Their reliance on public support helped both institutions–that of music and that of art museums–to reach a wider audience, ultimately creating more opportunities to engage with art and in turn contributing to more widespread artistic literacy among the American public.

References:

1 “Advertisement.” BALTIMORE PATRIOT & MERCANTILE ADVERTISER. (Baltimore, Maryland) XXXVIII, no. 98, November 4, 1831: [3]. Readex: America’s Historical Newspapers. https://infoweb.newsbank.com/apps/readex/doc?p=EANX&docref=image/v2%3A107D4AD8C258B928%40EANX-108270873A425650%402390126-10827087F7BAA9A0%402-1082708C24416710%40Advertisement.

2 Lewis, Robert M., ed. From Traveling Show to Vaudeville : Theatrical Spectacle in America, 1830-1910. Baltimore: Johns Hopkins University Press, 2003. Accessed November 25, 2022. ProQuest Ebook Central.

3 Locke, Ralph P. “Music Lovers, Patrons, and the ‘Sacralization’ of Culture in America.” 19th-Century Music 17, no. 2 (1993): 149–73. https://doi.org/10.2307/746331.

Sylvester Russell and his commentary on the CYCB

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Although not perfect, we have come to an era in which the voices of people of color, women, and other marginalized voices have started to become more commonly represented within musical communities. It is easy to attribute this progress to the overall trend of people becoming more open minded. However, we have to remember that this progress rode on the backs of certain individuals with radical ideas. One of these ideas is that of Sylvester Russell, who writes of creating an organization that supports black musicians.

Today, I am examining an article written in the Chicago Defender in 1907 by theater and music critic Sylvester Russell. In this article, he discusses the changes that he would make to the existing association “The Colored Vaudeville Benevolent Association” (or the CYCB).

https://www.proquest.com/hnpchicagodefender/docview/493197358/4C46D4B62E3944D4PQ/46?accountid=351  1

He first argues that the name of the organization is “not wisely chosen”, as the thinks the inclusion of “vaudeville” gives white people more access to the group, as it would gain attention from white vaudeville managers. He also thinks that the initiation fee of $5 should be reduced to $2 so that the association erases class issues and can include all types of black musicians and actors. He believes the only criterion should be that each member includes “all actors who are making a living as professional entertainers”. He also wants to include women in the association. He believes that by having an association that supports black actors and musicians in Chicago, it is possible that Chicago could become the center of arts for Black Americans.

The idea of creating a union of sorts among a group of people is not shocking. However, I think this column by Russell raises an interesting point about the ways in which black performers and managers were well aware of white influence and sabotage. Russell talks about the importance of how the members of this association present themselves. He argues that “The white man is ever on the bright side of natural instinct, and if actors who belong to this organization are not very careful of what they do and say along certain lines, their individual errors will tend to make the body weaker”. In other words, he thinks that the members of the organization must be savvy in order to keep the power of this organization between people of color.

Russell gives us a good reminder that progress has only happened because of individuals who have thought meticulously about how to keep power in the hand of POCs, careful to not let white people take it away.

 

1 SYLVESTER, RUSSELL Sylvester Russell. 1910. “MUSICAL AND DRAMATIC: FOREMOST DRAMATIC CRITIC THIRD SUBJECT THE DEVELOPMENT OF ACTORS. MANAGERS, PLAYWRIGHTS AND COMPOSERS MUSICAL AND DRAMATIC FOURTH AND LAST SUBJECT “THE DUTY OF COLORED ACTOR ORGANIZATIONS.”.” The Chicago Defender (Big Weekend Edition) (1905-1966), Sep 17, 2. https://www.proquest.com/historical-newspapers/musical-dramatic/docview/493197358/se-2?accountid=351.