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Alfred 0. Philipp
CHICAGO FOLKSTUFF
VAUDEVILLE
CHAPTER 2
No. Words
JUN 14 1939
Vaudeville being the malting pot of all theatrioalia it
is logically to be expected that its folklore would derive macho! its color
and character framtbe circus, drama, minstrel, and other amusement forma that
preceeded it. But many slang expressions were already obsolete when they were
dragged into the variety theatres by old timers from other fields. One such
is the scurrilous term "lard actor, an early professional version of wham
actor."
In the early days of the theatre in America theatrical cold
cream was not manufactured on a commercial scale; cosmetics were expensive,
and often unobtainable in the smaller cities and towns. Cocoa butter was
generally used as a basis for make-up, and also for removing it after the
performance. But many actors (especially those "pelying the sticks" with cheap
companies) often used plain lard for removing their stage make-up, sometimes
enhancing the odor of mixing in cologne, later, when cold cream came into
general use many actors, for reasons of economy, continued to use lard. The
up-to-date Broadway thespians referred to these contemptuously as "lard actors."
As used still later the tern had no particular reference to maka-up, but was used
to denote an inferior or low -salaried actor. "A lard actor" was also "a ham.
fat," and today an indifferent actor is still called "a hem," while a poor
performance is often described as wharim."
"Cork comedian" is a phrase that comes from the minstrel
show and the music halls; and was used to describe a minstrel, black -face, or
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VAIIDE'VILLE
Negro comedian. The original method for applying a "black -face" make-up was
to hold an ordinary cork over a candle until it was charred and black, which
was then rubbed on the face to blacken it for Negro impersonations. During
the vaudeville days one could purchase prepared grease paint in every Negroid
shade from light tan to coal black. Yet many "Black -face comedians" continued
to use the old fashioned burnt cork method for the following excellent reason:
A grease paint nake-up required scrubbing with hot water and snap for effectual
removal, while burnt cork could be easily and quickly washed off with cold water.
Besides, a very good make-up could be achieved with cork, And so the term
"cork comedian" persisted to some extent throughout the days of vaudeville.
"Olie" while used to indicate a performance given by vaudeville
acts, was in reality the name of a piece of scenery. The various curtains on
the stage of a theatre are called "drops;" thus vie have the "garden drop,* "palace
drop," *Moods drop," "street drop," etc. The very front curtain, marked "asbestos,"
as required by city ordinances, is usually called the "fire curtain," or the
"house drop," although frequently one heard a stage manager shout "take up the
asbestos" to the flyman, i. e. the stage hand who lowers and raises all curtains
and "hanging pieces.* The *olio drop* hangs directly behind the "street drop,"
generally about six to ten feet back from the footlights. In the old traveling
burlesque and road show it was customary to have specialty acts perform in front
of the "olio drop" while the stage was being "set" for the next act of the show.
Sometimes members of the company did these acts in front of the "olio drop"
while the stage hands worked "making the next set" in the rear while other
companies engaged bona fide vaudeville artists to perform their specialties
between the acts of the show. These acts might be advertised for (in the theatrical
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papers) in the following manner: "Wanted.- Acrobatic, juggling, and other
novelty acts, to work in olio." In time these acts came to be listed in the
theatre programs under the heading of "OLIO" regardless of the particular stage
setting in which they performed. And one performer or showman might remark
to another: "The Billy Watson show is carrying a good olio this season."
Which meant, literally, that the Billy Watson show was carrying a good program
of vaudeville acts. Thus, the word "olio" cane to have two distinct meanings.
First, it was the nano of a "theatre drop," curtain, or stage setting. Secondly,
it was the name adopted for the program of vaudeville acts which performed
between the acts of the principal show.
A" bundle actor" was a performer who traveled without trunks,
crates, rigging boxes, or any other type of heavy baggage which involved
express or excess baggage charges; carrying only hand -bags, valise, suitcases,
or other hand luggage. The term "bundle actor" was used in vaudeville more
than in any other theatrical field. In other traveling shows, such as dramatic,
circus, burleque, or opera, the management (or owners of the show) paid all
transportation and baggage expenses, so it cost the artist nothing for carrying
a trunk or two, -providing he had a trunk, But in vaudeville the situation
was quite different. Each and every individual act was a little company of
itself, sold to the theatre through a booking agency, and every vaudeville act
paid for its own transportation, baggage hauling, etc. For this reason many
underpaid vaudeville acts traveled without trunks or heavy baggage, and "suit
cased it" from town to town. These were the "bundle actors."
Vaudeville performers were continually "fighting the agents."
If you met a vaudevillian in the evening after he'd been "making the rounds"
of the boisking agents' offices all day, he would never admit that he had been
looking for work, making business calls, or negotiating contracts and engagements.
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He would invariably say: "I've been fighting the agents all day."
When an egotistic performer loitered about the lobby, or the
sidewalk in front of the theatre, perhaps to "date up a town gal" or merely
to let the natives know he was an actor, this was called "three -sheeting."
CA three -sheet is a poster measuring 44 by 84 inches.) Managers generally
frowned upon this practise, for to permit the public to view the performers
in their private characters was supposed to detraot from the mystery and glamour
of the stage. And so the managers regarded with disfavor certain actors who
were addicted to the debunking proclivities known as "three -sheeting in front
of the theatre."
"Up stage" was used to indicate proud and aloof manners. For
example: George Hoofer lands a few big time dates and assumes a superior and
patronizing attitude towards his old small time comrades, who remark: "George
is getting up stage lately." "Yeah, what has he got to be up stage about?"
In the theatre, of course, "down stage" means near the footlights, while "up
stage"has reference to the rear of the stage, towards the "back drop." And
an artist naturally works "up stage" or "down stage" according to the demands
of the vehicle in which he is performing. But what meaning the original term
"up stage" could possibly bear in relation to a swelled head is a mystery. And
yet "up stage" is a common term in the theatre for pride and hauteur.
"High hat," another term used in the same sense, is quite
obvious. For example: John Juggler, who has been performing in white flannels,
or other cheap costume, appears in new wardrobe presenting his act in a full
dress suit and top hat, i. e. a "high hat." This new ensemble indicates
greater prestige, apparent prosperity, and a professional advance. Other vaudevill-
ians, upon commenting upon it might remark: "I see John has sone high hat."
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Generally the term was used as slang, something like this: "'Listen, I'm
just as good as you are, so don't try to high hat me."
"Milking the audience." Hire was a disgusting habit to which
many performers were addicted in the old vaudeville days. It is comprehensible,
of course, that all artists relished a maximum tumult of applause at the con-
clusion of their performance. All, in fact, that an audience could be induced,
begged, or cajoled to bestow upon them. And there were practical methods of
encouraging an audience to continue applauding long after a vaudeville act should
have retired to give place to the following number. And this method was known
as "milking 'em," or "milking the customers." The tried and true orthodox
method of *milking gem" was as follows:
Let us suppose that a man and woman team have finished their
act and "bow off," one on either side of the stage, while the orchestra plays
their exit music. The audience applauds, and they return to bow in acknowledgement.
All of which is a perfectly legitimate proceedure. But now the process of
"milking 'am" commences. Before the applause completely subsides the woman
quickly leaves the stage, while the man remains before the audience with a
assumed air of uncertainty, as if speculating upon the question of an encore.
Soon he exits reluctantly, but by this time the woman has returned to the stage,
whore she stands bowing and smiling, gesticulating for the man to cone out and
do an encore. Finally she retires again with apparent reluctance. But before
her exit is complete the man isage:inout on the stage, bowing and motioning
for her to come out for an encore. The object is, of course, never to leave the
stage empty for an instant. Although their act is finished and they should
have retired, they contrive that one or the other is always before the footlights
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CHICAGO FOLESTUFF
VAUDEVILLE
to encourage the audience to continue applauding. If the applause shows signs
of "dying out" the performers at once bring it up again with a mute dhow of
appealing, one to the other, as if to say: "Come on, let's give tam an swore."
Through clever cooperation a team might keep the spectators applauding for
several minutes, thus getting credit (on the managers report sheet) for "stopping
the show," to the utter disgust of the next act which is standing in the wings,
ready to go on, and muttering: "Aw, come on. Get off the stage and quit
milking tem."