“Handy Man”/“I Tickled ’Em”

Rural Rhythm ◽  
2021 ◽  
pp. 80-82
Author(s):  
Tony Russell
Keyword(s):  
Music Hall

This chapter discusses New Arkansas Travelers, “Handy Man”, “I Tickled ’Em”, and music hall song

scholarly journals Male Impersonation in the Music Hall: the Case of Vesta Tilley

1988 ◽  
Vol 4 (15) ◽  
pp. 247-257 ◽  
Author(s):  
Elaine Aston
Keyword(s):  
Working Class ◽  
Music Hall ◽  
Cross Dressing ◽  
Male Impersonation

Music hall has only recently been treated to ‘serious’ as distinct from anecdotal study, and the ‘turns’ of its leading performers remain largely unexplored. Particularly revealing, perhaps, are the acts of the male impersonators – whose ancestry in ‘legit’ performance had been a long one, yet whose particular approach to cross-dressing had a special social and sexual significance during the ascendancy of music hall, with its curious mixture of working-class directness, commercial knowingness, and ‘pre-Freudian innocence’. The most successful of the male impersonators was Vesta Tilley, whose various disguises, the nature of their hidden appeal, and the ‘messages’ they delivered are here analyzed by Elaine Aston.

Fashion and the White Savage in the Parisian Music Hall

2004 ◽  
Vol 8 (3) ◽  
pp. 267-299 ◽  
Author(s):  
Rae Beth Gordon
Keyword(s):  
Music Hall

scholarly journals Jazz and Music-Hall Transgressions in Theatre Workshop's Production of A Taste of Honey

2007 ◽  
Vol 23 (4) ◽  
pp. 331-336
Author(s):  
Alec Patton
Keyword(s):  
The West ◽  
Music Hall ◽  
The Right ◽  
Original Production ◽  
The University

Shelagh Delaney's A Taste of Honey in the Theatre Workshop production of 1959 opened to the sound of a fast twelve-bar blues played on trumpet, saxophone, and guitar by musicians sitting in a box to the right of the stage. Though rarely mentioned by historians, the ‘Apex Jazz Trio’, as they were called, were a lively and unpredictable element in the production. Between the actors' open acknowledgement of the band, and Avis Bunnage's direct comments to the audience, the play shattered the ’realistic‘ conventions that still held sway in the West End, at the same time transgressing the distinction between ‘serious’ theatre and music hall (where the boundary of the proscenium was never respected obsequiously). Alec Patton, a PhD student at the University of Sheffield, draws on original interviews with actors from the cast, a member of the first-night audience, and the leader of the band that accompanied the show to offer a re-assessment of the role of music and music hall in the original production of A Taste of Honey.

The Music‐Hall Cockney: Flesh and Blood, or Replicant?

2002 ◽  
Vol 83 (2) ◽  
pp. 237-259
Author(s):  
Derek B. Scott
Keyword(s):  
Music Hall

Reviews

2007 ◽  
Vol 1 (2) ◽  
pp. 213-220
Author(s):  
Reviews Poston-Anderson ◽  
Magnus Schneider ◽  
Ben Wiles
Keyword(s):  
Nineteenth Century ◽  
Princeton University ◽  
Music Hall

Dance and Dancers in the Victorian and Edwardian Music Hall Ballet, Music in Nineteenth-Century Britain series, Alexandra Carter, (2005) Aldershot: Ashgate, 177 pp., ISBN 0 7546 3736 0 (hbk), 50.00Operatic Migrations: Transforming Works and Crossing Boundaries, Roberta Montemorra Marvin and Downing A. Thomas (eds.), (2006) Aldershot (UK) and Burlington (US): Ashgate, 274 pp., ISBN 0 7546 5098 7 (hbk), 65.00The Musical as Drama: A Study of the Principles and Conventions Behind Musical Shows from Kern to Sondheim, Scott McMillin, (2006) Princeton: Princeton University Press, 230 pp., ISBN 0691127301 (hbk), 15.95

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