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Revue

A revue is a form of theatrical entertainment characterized by a series of loosely connected or unrelated vignettes, including songs, dances, sketches, and monologues, typically infused with satire, comedy, or topical commentary on current events.^[1] Unlike narrative-driven musicals, revues prioritize variety and spectacle over a cohesive plot, allowing performers to showcase individual talents in quick succession.^[2] This format emphasizes entertainment through diverse acts, often featuring elaborate production numbers, choreography, and star performers.^[3] Originating in France during the early 19th century as a light, satirical review of contemporary affairs, the revue quickly evolved into a popular commercial genre performed by ensembles, including female-led troupes.^[4] By the late 19th and early 20th centuries, it spread to other countries, adapting to local cultures while retaining its core elements of music, dance, and humor. In the United States, the revue flourished in the 1910s and 1920s, with producer Florenz Ziegfeld Jr. refining the style through his annual Ziegfeld Follies series, which debuted in 1907 and combined glamorous chorus lines, comedic sketches, and lavish sets to create iconic Broadway spectacles.^[5] These productions, running for years and influencing American musical theater, highlighted the form's potential for social commentary and visual extravagance, as seen in hits like the 1930s labor-themed Pins and Needles.^[3] During the Golden Age of Broadway (roughly 1943–1968), revues began to decline in favor of integrated book musicals, but they persisted as a vehicle for celebrating composers' works or thematic explorations, with examples including Side by Side by Sondheim (1976) and Songs for a New World (1995).^[2] Internationally, variants like Japan's Takarazuka Revue, established in 1913, blended Western influences with local traditions, featuring all-female casts in grand, operetta-style performances.^[6] Today, revues remain a flexible genre for cabaret, off-Broadway shows, and tributes, underscoring their enduring appeal as a platform for innovation in live performance.^[3]

Etymology and Definition

Etymology

The term "revue" originates from the French word revue, meaning "review" or "survey," which in the 18th century referred to literary or satirical publications that critiqued contemporary events and society.^[7]^[8] This usage drew from Middle French reveue, denoting a systematic examination or overview, often in printed form to summarize and satirize the year's happenings.^[8] By the mid-19th century, under the July Monarchy (1830–1848), the term evolved into a theatrical context, applied to cabaret-style performances in Paris that humorously reviewed current events, politics, and cultural trends.^[9] These shows, known as revue de fin d'année (year-end review), codified as a genre blending vaudeville, fantasy, and topical satire, with the first examples appearing around the 1840s–1850s at variety theaters.^[9] The phrase revue de fin d'année directly influenced this shift, structuring performances as annual retrospectives that mocked the passing year.^[10] The term was borrowed into English around 1872, initially referring to similar satirical theatrical shows reviewing current events.^[7] Venues like the Folies Bergère, established in 1869, amplified the genre's popularity by hosting elaborate revues de fin d'année that integrated music, dance, and spectacle to dissect societal follies.^[11] Composer Jacques Offenbach played a pivotal role in popularizing the terminology through operetta-revue hybrids, such as his 1860 satirical work Le Carnaval des revues, which parodied contemporary theatrical revues and blended operatic elements with timely critique.^[12] This fusion helped embed "revue" firmly in the lexicon of light entertainment across Europe.

Core Characteristics

A revue is distinguished by its loose, episodic structure, which prioritizes a sequence of independent sketches, songs, dances, and comedy vignettes over a unified plot or character-driven narrative. This format, evolving from vaudeville influences that emphasized diverse acts and performer variety, allows for flexible programming where individual segments stand alone while contributing to an overall thematic cohesion.^[13]^[14] Central to the form is its satirical edge, offering pointed commentary on contemporary society, politics, fashion, and celebrities through topical humor that critiques current events and cultural trends. Originating in France during the 19th century as a light entertainment reviewing the news, revues maintain this tradition of wit and parody across their evolution.^[15]^[16] Productions typically integrate elaborate costumes, scenic designs, and large chorus lines—often featuring synchronized female ensembles—to create visual spectacle and enhance the performative energy. These elements underscore the revue's emphasis on extravagance and entertainment value.^[13]^[17] In format, revues feature a series of short to moderately lengthed acts, including transitions for seamless flow, setting them apart from musicals or operettas, which rely on sustained storytelling and character arcs; instead, revues celebrate variety, immediacy, and episodic diversion.^[18]^[19]^[17]

Historical Development

Origins in France

The revue genre emerged in 19th-century France amid the vibrant landscape of Parisian cabarets and music halls, particularly during the Second Empire (1852–1870), where it developed as a satirical form of entertainment blending music, sketches, and spectacle. This evolution was shaped by the post-French Revolution liberalization of satire laws in the early 19th century, which allowed for critical commentary on society, though such freedoms were curtailed under Napoleon III's authoritarian regime through stringent censorship mechanisms that scrutinized theatrical content for political subversion.^[20]^[21] Revues thus became a subtle vehicle for social critique, often employing humor to navigate restrictions while targeting the excesses of the aristocracy and bourgeoisie.^[22] Composers like Hervé (Louis Auguste Joseph Florimond Ronger) played a pivotal role in the genre's early formation, integrating operetta's melodic structures with revue's topical satire during the 1850s at venues such as the Folies-Concertantes, which he directed from 1854 onward.^[23] His works, including parodic pieces that mocked contemporary theater and society, contributed to the concept of the "revue à grand spectacle," emphasizing elaborate productions with large casts and visual pomp to amplify satirical impact despite censorship pressures.^[24] This blending of forms helped transition revue from informal café-concert performances to more structured theatrical events, fostering its growth as a distinct genre.^[25] Key venues solidified revue's prominence in late 19th-century Paris, with the Folies Bergère—opened in 1869 as a music hall—hosting one of the earliest landmark productions, the 1886 revue Place aux Jeunes, which introduced innovative staging, chorus elements, and political skits under new management by Léon Sari and Édouard Marchand.^[26] Similarly, the Moulin Rouge, established in 1889 by Joseph Oller and Charles Zidler at the base of Montmartre, quickly became synonymous with the genre through its inaugural revues like Circassiens et Circassiennes (1890), featuring the can-can dance alongside satirical vignettes that critiqued social norms.^[27] These establishments not only popularized revue but also exemplified its role in challenging Second Empire hierarchies, often evading full censorship by veiling critiques in entertainment.^[28]

Golden Age in the United States and Europe

The revue format gained prominence in the United States through Florenz Ziegfeld's annual Follies productions, which ran from 1907 to 1931 and transformed the genre into lavish spectacles blending comedy, music, and elaborate staging.^[29] These shows featured renowned performers such as comedian Fanny Brice, who debuted in the 1910 edition and became a staple for her satirical sketches, and humorist Will Rogers, who appeared in multiple editions starting in 1916, delivering rope tricks and folksy commentary on current events.^[30] Ziegfeld's innovations emphasized opulent costumes, massive sets, and synchronized chorus lines, drawing from European influences while adapting to American tastes for extravagance.^[13] In Europe, the revue flourished alongside U.S. developments, with London's Windmill Theatre emerging as a key venue in the 1930s under owner Laura Henderson, who converted a former cinema into a space for continuous, risqué performances featuring nude tableaux and comedy sketches that skirted censorship laws.^[31] The theatre's motto, "We never close," underscored its non-stop revues, which attracted audiences seeking escapist entertainment amid economic uncertainty.^[32] In Berlin during the Weimar Republic, revues incorporated sharp political satire, as seen in cabaret-style shows at venues like the Tingel-Tangel, where performers critiqued rising fascism through songs and sketches before the Nazi regime suppressed such expressions in 1933.^[33] These European productions highlighted the genre's adaptability to local social tensions, contrasting with the more celebratory tone of American counterparts.^[34] The golden age of revues in the 1920s and early 1930s coincided with the Jazz Age's cultural exuberance, where Prohibition-era speakeasies fostered underground nightlife that spilled into theatrical escapism, boosting Broadway attendance to record levels with over 200 productions annually by the mid-1920s.^[35] Economic prosperity from post-World War I growth enabled lavish investments, tying the genre to excess through jazz-infused scores and Art Deco aesthetics in set design and costumes that evoked modernity and glamour.^[36] Innovations also explored gender dynamics via chorus girl ensembles, whose synchronized dances and revealing attire challenged traditional femininity, embodying flapper-era liberation while reinforcing objectified tropes.^[37] Notable events included the Scandals series by George White, launched in 1920 as a direct rival to Ziegfeld, which scandalized audiences with provocative sketches and songs like "I'll Build a Stairway to Paradise," running for 144 performances and spawning annual editions through the decade.^[38] The 1929 stock market crash abruptly curtailed this scale, slashing Broadway revenues by nearly 50 percent within a year, forcing closures like Ziegfeld's final Follies in 1931 and shifting revues toward smaller, more economical formats amid the Great Depression.^[39] Despite the downturn, the era's productions left a lasting imprint on popular entertainment, influencing subsequent musical theater.^[40]

Decline and Post-War Evolution

The Great Depression, beginning in 1929, severely impacted the funding and viability of Broadway revues, leading to a dramatic decrease in productions, shrinking audiences, and the displacement of an estimated 25,000 theater professionals in New York alone.^[41]^[42] Lavish revues, which had thrived on substantial investments during the 1920s, became unsustainable as ticket prices dropped to as low as 25 cents in some venues and many theaters closed or converted to other uses.^[42] World War II, from 1939 to 1945, further strained the industry through material shortages, enlistment of performers, and shifting priorities toward morale-boosting efforts, resulting in smaller-scale productions and additional venue closures across the United States and Europe.^[40]^[43] Post-Depression and wartime economic pressures contributed to a broader shift in audience preferences during the 1940s and 1950s, favoring integrated, plot-driven musicals over the episodic format of traditional revues.^[44] Composers Richard Rodgers and lyricist Oscar Hammerstein II pioneered this evolution with works like Oklahoma! (1943) and Carousel (1945), which emphasized narrative coherence and character development, drawing audiences away from revue-style spectacles.^[45] This transition reflected a cultural desire for escapist stories with emotional depth amid ongoing recovery from economic hardship and global conflict.^[44] In the United States, revues adapted to wartime needs through formats like Irving Berlin's This Is the Army (1942), an all-soldier production on Broadway that toured globally to boost morale, featuring over 300 enlisted performers in patriotic sketches and songs.^[46] This show exemplified a move toward more modest, purpose-driven revues, often off-Broadway or touring, as full-scale Broadway presentations became rarer.^[46] Overall, Broadway revue output declined sharply, from multiple productions annually in the 1920s—such as the several revues mounted in 1920 alone—to far fewer by the 1950s, with total new musicals limited to around ten in challenging years like 1935.^[47]^[48] Europe saw post-war revival attempts, including the opening of the Crazy Horse Saloon in Paris in 1951 by Alain Bernardin, which presented artistic cabaret-style revues emphasizing sensual dance and visual innovation as a nod to pre-war glamour.^[49] These efforts marked a cautious resurgence amid reconstruction, though they often prioritized entertainment over the sharp social satire of earlier decades.^[49]

Theatrical Forms and Variations

Traditional Stage Revues

Traditional stage revues emphasized efficient staging to maintain a fast-paced flow of sketches, songs, and dances, often relying on quick scene changes facilitated by minimal props and the use of "blackout" techniques. Blackout sketches, short comedic vignettes ending abruptly with a punchline followed by a sudden lights-out, allowed for rapid transitions between acts without elaborate set shifts, preserving the revue's energetic momentum. This approach, common in productions like the Ziegfeld Follies, minimized onstage clutter and enabled seamless progression, with props limited to essentials like costumes or simple hand-held items to support the episodic format.^[50] Directors and choreographers played pivotal roles in shaping the visual and rhythmic dynamics of these revues, with Busby Berkeley exemplifying innovative synchronized dance routines during the 1920s and 1930s. As a dance director for Broadway productions, Berkeley devised "broken" chorus numbers where dancers executed rhythms that contrasted the musical meter, creating intricate patterns visible from afar and emphasizing precision in group formations.^[51] His techniques, later adapted to film, influenced stage shows by prioritizing geometric synchronization and counterpoint to the score, as seen in routines for the stage version of Whoopee! (1928), where he applied methods derived from 1920s revues.^[51] Other figures like Florenz Ziegfeld curated acts to balance spectacle and satire, directing ensembles in opulent yet fluid sequences.^[50] In live settings, traditional stage revues incorporated elements of audience interaction and improvisation to heighten immediacy, distinguishing them from rigidly scripted forms. Performers often ad-libbed topical commentary or responded to crowd reactions in cabaret-style venues, fostering a participatory vibe—such as in roof garden revues where patrons engaged directly with the satire.^[50] This spontaneity, rooted in the form's satirical core, allowed for unscripted flourishes during sketches, enhancing the communal energy while keeping the overall structure intact.^[50] Internationally, forms like British music hall revues adapted similar interactive elements to local audiences. The economic model of traditional stage revues centered on ticket sales in music halls and theaters from the 1900s to 1960s, supplemented by touring circuits to maximize revenue from diverse audiences. Impresarios like Ziegfeld and the Shuberts produced annual editions as commercial ventures, targeting urban crowds including summer theatergoers, with profitability driven by high-volume attendance rather than long runs.^[50] Touring enabled revues to reach regional venues, extending the lifespan of popular acts beyond New York and generating additional income through road shows.^[50] Revues varied widely in scale, from intimate cabaret presentations in small clubs to grand Broadway spectacles accommodating hundreds. Smaller cabaret revues, like the Ziegfeld Frolics, featured close-up interaction in roof gardens with limited casts and simple staging for a cozy atmosphere.^[50] In contrast, large-scale Broadway productions such as George White's Scandals (1923–1939) employed expansive ensembles, elaborate costumes, and choreographed numbers to fill major theaters, creating immersive extravaganzas.^[50]

Film and Cinematic Revues

The adaptation of revue formats to cinema emerged prominently in 1920s-1930s Hollywood, as studios sought to capitalize on the transition to sound films by showcasing vaudeville performers in plotless variety spectacles. Metro-Goldwyn-Mayer's The Hollywood Revue of 1929, directed by Charles Reisner, marked a pivotal example, presenting a series of sketches, songs, and dances featuring stars like Joan Crawford, Bessie Love, and Jack Benny in their feature film debuts, effectively bridging stage vaudeville traditions to the talkie era.^[52] This film, MGM's second feature-length musical, emphasized live-performance energy through synchronized sound, drawing crowds eager for celebrity showcases amid the novelty of audible dialogue and music.^[52] Cinematic revues innovated through film-specific techniques, such as montage editing to link disparate sketches and the incorporation of early color processes to heighten visual appeal. In The Hollywood Revue of 1929, two-color Technicolor was employed for key sequences, including the finale "Singin' in the Rain," which added a layer of spectacle unattainable on stage.^[52] Similarly, Warner Bros.' Gold Diggers of 1933, directed by Mervyn LeRoy, integrated Busby Berkeley's groundbreaking choreography in numbers like "Shadow Waltz" and "Remember My Forgotten Man," using overhead camera angles and kaleidoscopic formations to create illusionistic depth via editing and set design, transforming revue-style acts into cinematic abstractions within a musical film framework.^[53] In Europe, French filmmakers adapted revue styles into satirical narratives that often critiqued cinema itself. René Clair's Le Million (1931), a musical comedy blending chase sequences with song-and-dance interludes, employed revue-like variety to lampoon bourgeois obsessions, while his À nous la liberté (1931) used rhythmic editing and whimsical musical numbers to satirize industrial modernity and filmic assembly-line production, drawing parallels between factory mechanization and movie studios.^[54] Film revues faced challenges from medium constraints and regulatory shifts, including shortened runtimes that necessitated condensed acts to fit 90-minute features, often truncating elaborate stage routines into rapid vignettes. The enforcement of the Motion Picture Production Code (Hays Code) from 1934 further restricted risqué content prevalent in pre-Code revues, toning down suggestive dances and dialogue to comply with moral guidelines, which curtailed the genre's provocative edge.^[55] The legacy of cinematic revues profoundly shaped the musical film genre, establishing conventions for integrated spectacle and star-driven variety that influenced subsequent Hollywood output, with Warner Bros. producing over 50 revue-style shorts in the 1930s through series like Vitaphone Varieties and Broadway Brevities, preserving vaudeville vitality in bite-sized formats.

Contemporary and Specialized Revues

Modern Professional Revues

In the late 1970s and early 1980s, off-Broadway theater experienced a resurgence of revue formats, particularly through satirical takes on contemporary culture and the performing arts. A prime example is Forbidden Broadway, conceived and directed by Gerard Alessandrini, which debuted on January 15, 1982, at Palsson's Supper Club in New York City and has since run for over 6,600 performances in Manhattan across more than two dozen editions as of 2025.^[56] This long-running parody revue skewers Broadway musicals and stars with sharp wit, embodying the era's shift toward more intimate, cost-effective productions that critiqued the excesses of mainstream theater.^[57] Internationally, Japan's Takarazuka Revue, an all-female musical theater troupe established in 1913, reached peaks of popularity in the 1970s and 1990s, drawing massive audiences with its lavish, gender-bending spectacles that blended Western operetta influences with Japanese aesthetics.^[58] In London, the satirical revue NewsRevue, launched in 1979 at the Canal Café Theatre, has maintained a Guinness World Record as the longest-running live comedy show, updating its fast-paced sketches and songs weekly to lampoon current events and politics.^[59] Modern professional revues have increasingly adapted to address pressing social and political issues, reflecting their historical role as vehicles for commentary. In the 1980s, amid the HIV/AIDS crisis, cabaret-style revues emerged as platforms for awareness and fundraising, such as benefit performances that combined music, sketches, and personal testimonies to combat stigma and support affected communities.^[60] Following the September 11, 2001, attacks, revues incorporated political satire to process national trauma and critique policy responses, with off-Broadway and fringe productions using humor to explore themes of security, patriotism, and global conflict in sketch formats.^[61] Production trends in professional revues since the late 20th century have emphasized efficiency and innovation, particularly after the COVID-19 pandemic. Smaller casts—often four to six performers—have become standard to lower costs and enhance versatility, allowing for quick pivots in satirical content. Multimedia elements, such as projections, video backdrops, and interactive digital effects, are now integral, enriching sketches with visual satire on technology and media. Post-2020, many revues adapted to streaming platforms for virtual audiences, enabling global reach while theaters reopened with hybrid models that blend live and online delivery.^[62] As of November 2025, variants like Forbidden Broadway: Merrily We Stole a Song continue touring the United States, incorporating satire on recent Broadway hits and cultural events.^[63] As of 2025, professional revues maintain a niche appeal within cabaret circuits and festivals, prioritizing intimate venues over large-scale productions. In New York, The Duplex Cabaret Theatre continues to host musical comedy revues with a focus on LGBTQ+ themes, attracting audiences with its historic piano bar atmosphere. Annually, the Edinburgh Festival Fringe features revue-style shows in its cabaret and variety programs, with 159 shows in those categories in 2025 including satirical sketches that draw international crowds and showcase emerging talent.^[64]

University and Student Revues

University and student revues emerged as vibrant traditions in the early 20th century, particularly in the United Kingdom, where they served as platforms for satirical humor and creative expression among undergraduates. The Cambridge Footlights, founded in June 1883 at the University of Cambridge, stands as one of the oldest and most influential student comedy societies, initially performing light musical comedies and sketches in local venues before evolving into full-scale revues.^[65] The Oxford Revue, established in 1952 at the University of Oxford, followed a similar model, quickly gaining recognition for its witty sketches and contributions to the Edinburgh Fringe Festival.^[66] These groups pioneered the student revue format by blending topical satire with variety acts, often launching the careers of prominent comedians, including members of Monty Python such as John Cleese, who honed his skills through Footlights performances in the 1960s.^[67]^[68] In the United States, analogous traditions took root earlier but adapted the revue style in the late 19th and early 20th centuries. Harvard University's Hasty Pudding Club, formed in 1795 as a literary and social society, transitioned into theatrical productions by the 1880s, staging annual burlesque musical revues that satirized contemporary events and featured elaborate costumes and drag performances.^[69] By the 1920s, Yale University students contributed to the genre through groups like the Yale Puppeteers, a puppetry troupe founded around 1926 that produced satirical revues combining marionette shows, music, and commentary on social issues, performing both on campus and professionally in venues like Los Angeles' Turnabout Theatre.^[70] These American examples emphasized humor rooted in campus life and broader cultural critique, mirroring their British counterparts while incorporating unique elements like puppetry and musical theater. Student revues typically follow a low-budget, collaborative format, with casts and crews composed entirely of volunteers who write, direct, and perform original sketches. These productions often run annually, featuring short comedic vignettes that lampoon academic life, faculty quirks, and popular culture, delivered through spoken word, songs, and physical comedy without reliance on professional sets or lighting.^[65] For instance, Footlights revues culminate in May Week performances at Cambridge's Theatre Royal, while Hasty Pudding shows tour nationally, maintaining a volunteer-driven ethos that fosters experimentation and peer feedback.^[69] The satirical bent draws from core revue characteristics, using exaggeration and irony to highlight absurdities in university environments and societal norms. These revues have proven essential incubators for comedic talent, nurturing generations of performers who transition to professional success. Notable alumni from the Footlights include Hugh Laurie and Stephen Fry, who co-starred in the 1981 revue that propelled them to fame, alongside Emma Thompson and Olivia Colman, whose early experiences shaped their award-winning careers.^[65] In the U.S., Hasty Pudding participants like Jack Lemmon, who served as club president in the 1940s, credited the group's satirical training for his comedic timing in films and theater.^[71] Overall, these programs have influenced British and American comedy by providing accessible entry points for diverse voices, with alumni contributing to iconic works like Fawlty Towers and Blackadder. In the 2010s and 2020s, university revues have evolved to incorporate digital platforms, expanding their reach beyond live audiences. Groups like the Durham Revue and the University of Technology Sydney (UTS) Revue have uploaded sketch compilations to YouTube, allowing global viewing of student-written content that satirizes modern issues such as social media and campus politics.^[72] Inclusivity efforts have also intensified, with Hasty Pudding casting women in lead roles for the first time in 2018 to address historical gender barriers in its drag-focused productions, and Footlights maintaining full female membership since 1964 while promoting diverse casts in recent shows.^[73]^[65] These adaptations reflect broader pushes for equity in student theater, ensuring revues remain relevant as training grounds for inclusive comedy in contemporary campus culture.

Medical and Amateur Revues

Medical student revues represent a longstanding tradition within healthcare education, particularly in the United Kingdom, where they serve as satirical outlets for students to lampoon the challenges of medical training and hospital environments. These productions, often performed by students from London's five United Hospitals medical schools—Imperial College School of Medicine, King's College London, Queen Mary University of London, St George's University of London, and University College London—culminate in the annual United Hospitals Comedy Revue, an inter-school competition that has been held since at least the late 1990s.^[74] The event draws hundreds of participants and audiences, fostering camaraderie while highlighting absurdities in clinical practice through sketches, songs, and improvised humor.^[75] Central to these revues are themes that parody everyday aspects of hospital life, including the rigors of anatomy lessons, patient interactions, and the inefficiencies of the National Health Service (NHS) bureaucracy. Sketches frequently incorporate medical props like stethoscopes for comedic effect, exaggerating scenarios such as endless paperwork or hierarchical ward dynamics to provide comic relief from the stresses of training.^[76] For instance, student-led groups like the Brighton and Sussex Medical School (BSMS) Medic Revue produce annual sketch shows that satirize these elements, blending popular culture parodies with insider jokes about clinical rotations and administrative hurdles.^[77] Similar traditions extend to other Commonwealth countries, with parallels in Australia and Canada where medical revues emphasize fundraising and community engagement. In Australia, the Sydney University Medical Revue, organized by first-year students through the Sydney University Medical Society, has been a fixture since the mid-20th century, featuring elaborate productions with titles like Cadavatar and Placebo Effects that mock medical school milestones while raising funds for charities.^[78] Canadian medical students, particularly at the University of Toronto, participate in end-of-year "med shows" that echo these formats, using raucous humor to subvert authority and celebrate the "moment of misrule" at the close of academic terms—a practice rooted in historical student carnivals that parody professional norms.^[79] Beyond academia, amateur revues in community theater settings occasionally adopt healthcare satire, extending the format to non-student audiences. In the U.S. Midwest, local groups affiliated with historical societies or community playhouses produce skit-based revues that lightly satirize regional medical history or public health issues, often as part of broader cultural festivals to engage residents in accessible entertainment. These productions maintain the revue's core elements of music, dance, and topical humor without the insider focus of student shows. Recent trends in medical revues reflect broader shifts in education and society, including adaptations to virtual formats during the COVID-19 pandemic from 2020 to 2022, when in-person performances were curtailed and some groups pivoted to online sketches and streamed events to sustain morale.^[80] Additionally, post-2010s productions have increasingly emphasized diverse casts, mirroring gains in medical student demographics where underrepresented racial and ethnic groups now comprise a larger share of enrollees, allowing revues to incorporate multifaceted perspectives on healthcare inequities.^[81]

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The Windmill Theatre, Great Windmill Street, London, W.1
In 1930 Laura Henderson bought the Palais de Luxe and formed a new Company, the Windmill Theatre Co, Ltd., with Bernard Isaac and J. F. Watts Phillips.
[31]
The storied history of The Windmill, venue of Tatler's Little Black ...
Nov 4, 2022 · Founded in the 1930s by eccentric socialite Laura Henderson, The Windmill Theatre, in the heart of London's Soho, has long been known for its motto, 'We never ...
[32]
Cabaret in the Weimar Republic | Carnegie Hall
Feb 1, 2024 · Step back in time to Weimar-era cabaret: where pushing boundaries met political satire, gender exploration, and the spirit of 1920s Berlin.
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The Political Cabarets: Source of Berlin's Satire - The Atlantic
The heyday of Berlin cabaret was the period of William II's reign, when the censors were still present but were lenient. A popular singer had only to pretend to ...
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The Rise of Jazz and Jukeboxes - Prohibition: An Interactive History
The new federal law restricting liquor advanced the future of jazz by creating a nationwide underground nightclub culture in the 1920s.Missing: Revue Broadway
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Research Project: Depression-Era Broadway
May 1, 2017 · Moveable stages, fly systems and even ragtime music were in use during Broadway's first Golden Age in the 1920's; when faced with amplification, ...Missing: Jazz | Show results with:Jazz
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Flappers, Chorus Girls, and Other Brazen Performers of the ...
Aug 6, 2025 · Like actual single women during the period, the single woman on the stage slides between social ranks and genders; she eludes containment, ...Missing: Deco dynamics
[37]
George White's Scandals [1920] – Broadway Musical – Original | IBDB
George White's Scandals [1920] (Original, Musical, Revue, Broadway) opened in New York City Jun 7, 1920 and played through Oct 2, 1920.
[38]
Broadway 101 "1930-1940: The Great Depression" Part 1
The number of Broadway people affected by the stock market crash was uncountable. Everyone from producers, such as Flo Ziegfeld - who closed his hit ...Missing: Impact | Show results with:Impact
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Once More, The Lights Are Bright On Broadway | The Wolfsonian
Sep 18, 2021 · During the decade-long depression that followed the crash, ticket sales dropped precipitously, leading to mass layoffs of actors, set designers, ...
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The Show Must Go On! American Theater in the Great Depression
The Great Depression had an enormous impact on theatre across the United States. Productions decreased dramatically, audiences shrank, and talented writers, ...
[41]
Broadway 101 "1930-1940: The Great Depression" Part 2
An estimated 25,000 theater people were displaced by the effects of the depression, the majority in New York. In some theaters, prices were dropped to a 25-cent ...
[42]
The American Musical Theatre During the Second World War
Was the theatre to continue to produce fast moving, somewhat bawdy revues and nonsensical musical comedies? Was it to become an un- official arm of the ...
[43]
How Rodgers And Hammerstein Revolutionized Broadway - NPR
Dec 24, 2018 · It's about composer Richard Rodgers and lyricist Oscar Hammerstein who had one of the most successful musical partnerships of the 20th century.
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Golden Age Musicals (1940s-1960s) | Musical Theater Performance ...
Richard Rodgers and Oscar Hammerstein II collaborated on numerous iconic shows (Oklahoma!, Carousel, South Pacific). Rodgers composed the music, while ...
[45]
Forgotten Musicals Friday: Wartime Unity and Cultural Controversy ...
Jul 5, 2024 · Picture it: July 4, 1942. The Broadway Theatre is abuzz with excitement as the military revue, This Is The Army, premieres to an enthusiastic ...
[46]
Stage Musical Choronology: 1920s
Always You, 1/5/1920, Central, 66 ; Frivolities of 1920 (Revue), 1/8/1920, 44th Street., 61 ; As You Were (Revue), 1/27/1920, Central, 143 ; Night Boat, The, 2/2/ ...Missing: statistics | Show results with:statistics
[47]
Review: 'Broadway by the Year: Broadway Musicals of 1928 & 1935 ...
Feb 26, 2019 · Act 2 shifted to 1935, a year of financial crisis in which only ten new musicals made their debuts. But among them were the Gershwins' Porgy and ...
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Our History - Crazy Horse Paris
1951 CREATION OF THE CRAZY HORSE PARIS. Alain Bernardin opens the original Crazy Horse Paris cabaret at the prestigious 12 avenue George V, in the heart of ...
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Blackout gag - Wikipedia
A blackout gag is a kind of joke in broad, rapid-fire slapstick comedy. The term is derived from burlesque and vaudeville, when the lights were quickly turned ...
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[PDF] The Great American Revue: - The New York Public Library
May 1, 2012 · Revues led by comics such as Bert Lahr proved popular into the 1950s on. Broadway. Since the 1960s, Off-Broadway and night club revues flourish.
[51]
Busby Berkeley, broken rhythms and dance direction on the stage ...
Aug 7, 2025 · On the 1920s revue stage, dance director Busby Berkeley created 'broken' chorus numbers in which dancers performed rhythms that contradicted ...
[52]
Movie Title - AFI|Catalog - American Film Institute
Metro-Goldwyn-Mayer's (M-G-M) The Hollywood Revue of 1929 was “the first musical extravaganza without any attempt at a plot,” according to the 15 Jun 1929 ...
[53]
The world's most comprehensive Film database - AFI|Catalog
Gold Diggers of 1933 (1933). 90 or 96 mins | Musical comedy | 27 May 1933. Cast: Warren William, Joan Blondell, Aline MacMahon [ More ]. Director: Mervyn LeRoy ...
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10 great French films of the 1930s | BFI
May 25, 2023 · The Blood of the Poet (1930). Director: Jean Cocteau. The Blood of the Poet (1930) ; À nous la liberté (1931). Director: René Clair. À nous la ...
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Broadway & Hollywood | Broadway: The American Musical | PBS
The Production Code, better known as the Hays Code, was introduced in 1934. Even if film producers wanted sophisticated Broadway material reproduced intact on ...
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Vitaphone Varieties - Wikipedia
Vitaphone Varieties is a series title (represented by a pennant logo on screen) used for all of Warner Bros.', earliest short film talkies of the 1920s.Missing: style | Show results with:style
[57]
Forbidden Broadway to End 27-Year Run on January 15
Sep 12, 2008 · Forbidden Broadway debuted on January 15, 1982 at Palsson's Supper Club. It has since played more that 9,000 performances, winning a collection ...
[58]
FORBIDDEN BROADWAY celebrated and remembered for decades ...
Nov 14, 2010 · Forbidden Broadway wasn't just one of the funniest and most entertaining off-Broadway revues during its three-decade run - especially for savvy ...
[59]
https://ianlouisharris.com/tag/canal-cafe-theatre/
[60]
Canal Cafe Theatre - Ian Louis Harris
NewsRevue is the world's longest running live comedy show. It has been running since 18 August 1979. That is a Guinness World Record. If you don't believe me, ...Missing: history | Show results with:history<|separator|>
[61]
Review/Cabaret; AIDS Revue, A Benefit - The New York Times
Dec 8, 1991 · "Here's to Our Friends: The AIDS Music Revue," which plays Monday evenings at Eighty-Eight's through the end of January, makes a brave effort to ...Missing: examples | Show results with:examples
[62]
Political satire and its disruptive potential: irony and cynicism in ...
Jul 25, 2018 · This articles explores the twenty-first century potential of irony and cynicism to disrupt and subvert through parody, be it in the form of political satire or ...Missing: revues | Show results with:revues<|separator|>
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[PDF] Public communication trends after COVID-19 (EN) - OECD
Over recent years, and especially during the COVID-19 pandemic, several trends have emerged that increase the potential for the public communication function ...Missing: revue casts
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Big! Gay! Show! Plays NYC's Duplex Nov. 16-18 | Playbill
Gay! Show! Plays NYC's Duplex Nov. 16-18 Philadelphia cabaret performers Doug Anderson and Todd Waddington perform their new musical comedy revue, Big! Gay ...
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First shows revealed for Edinburgh Festival Fringe 2025
Mar 12, 2025 · More than 550 shows that will be staged at the 2025 Edinburgh Festival Fringe are now available to view and book on edfringe.com.Cabaret And Variety · Comedy · Musicals And OperaMissing: examples | Show results with:examples<|control11|><|separator|>
[66]
History - The Cambridge Footlights
... Oxford Revue graduates Alan Bennett and Dudley Moore to form Beyond the Fringe, the hugely popular stage revue show which toured Britain and America in 1960.
[67]
Oxford Revue
Since its conception in 1952, the Revue has produced a number of the UK's best-loved actors and comedians.Missing: history origins
[68]
University of laughs | TV comedy - The Guardian
Jan 30, 2009 · The Footlights narrative is a familiar one with lots of key turning points. From Peter Cook to John Cleese and Monty Python, to Bill Oddie ...
[69]
World-famous Cambridge Comedians - Let's Go Punting
Jan 15, 2020 · 4. John Cleese ... John Marwood Cleese was attending Downing College in Cambridge. Emerging from the Footlights in the 1960s, he specialises in ...
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History – The Hasty Pudding Institute of 1770
Harvard granted theatre space to the Hasty Pudding in 1876, opening the shows to a general audience of Bostonians. The space was a dingy little building on the ...Missing: revues | Show results with:revues
[71]
Introduction – The Yale Puppeteers & The Turnabout Theatre
Author Ray Bradbury attended nearly 40 performances. Part revue, part marionette show, the Turnabout, which utilized discarded seating from Pacific Electric ...
[72]
Hasty Pudding's star-studded history, in pictures - Harvard Gazette
Jan 30, 2018 · On Sept. 1, 1795, 21 Harvard juniors gathered in a dorm room to found The Hasty Pudding Club. The club took its name from the traditional ...Missing: revues | Show results with:revues
[73]
Durham Revue- Durham University's finest comedians! - YouTube
Dec 3, 2021 · Comments · She's 12. · Tour of Van Mildert College · Harry Enfield 'Rude Pharmacist' Funny Sketch Comedy Skits British Humor · How To Make Yorkshire ...Missing: examples | Show results with:examples
[74]
Harvard's Hasty Pudding theater troupe casts women for first time in ...
Sep 20, 2018 · Hasty Pudding is known for comedic revues that feature men in drag playing female characters. It was founded in 1795 and has been staging ...
[75]
[PDF] Council 23rd May 2011 Imperial College School of Medicine ...
May 23, 2011 · ICSM also hosted the United Hospitals Revue for the first time in its thirteen year history. 700 students from the five London Medical ...
[76]
Revue Musicals - Superprof
Rating 5.0 (1) Nov 17, 2019 · So popular are these shows that London's five United Hospitals medical schools compete against each other every year, in an event called the ...
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The Internet's Top 10 Medical School Parody Videos
May 21, 2020 · Common themes in these videos include: a desire to learn (and an education system that rewards the hypercompetitive “gunner”), a fear of ...
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bsmsmedicrevue - YouTube
Footage from The Medic Revue, a comedy sketch show performed annually by medical students.
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Med Revue | SUMS - Sydney University Medical Society
The Sydney Medical Program has always been a stalwart of the Revue season, performing shows under titles such as “Cadavatar”, “Beauty and Deceased” and “Placebo ...
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Medicine's moment of misrule: the medical student show - PubMed
Medicine's moment of misrule: the medical student show. J Med ... Affiliation. 1 Department of Radiation Oncology, University of Toronto, Toronto, Canada.
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Effectiveness of Virtual Medical Teaching During the COVID-19 Crisis
Nov 18, 2020 · The objective of this study was to review the advantages and disadvantages of virtual medical teaching for medical students during the COVID-19 pandemic.
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Diversity of the National Medical Student Body — Four Decades of ...
Apr 28, 2021 · We examined the diversity of the national medical student body with respect to gender, race, and ethnic group over the past four decades.