Britain had talent a history of variety theatre

Enhanced descriptions from Syndetics:

In the first major academic work to examine British variety theatre, Double provides a detailed history of this art form and analyses its performance dynamics and techniques. Encompassing singers, comedians, dancers, magicians, ventriloquists and diverse speciality acts, this vibrant book draws on a series of new interviews with variety veterans.

Table of contents provided by Syndetics

• List of Illustrations (p. viii)
• Acknowledgements (p. ix)
• Introduction (p. 1)
• Part 1 History of Variety Performance
• 1 Britain's Got Talent (p. 7)
• 2 The Variety Bill (p. 11)
• 3 Music Hall Becomes Variety, 1890-1927 (p. 37)
• 4 The Golden Age of Variety, 1928-52 (p. 51)
• 5 Variety Falls Apart, 1953-65 (p. 69)
• Part 2 Performance Dynamics
• 6 Personality (p. 95)
• 7 Participation (p. 126)
• 8 Skill (p. 158)
• 9 Novelty (p. 178)
• Part 3 Variety Performance Today
• 10 Variety Now (p. 199)
• Notes (p. 218)
• Bibliography (p. 253)
• Index (p. 271)

Reviews provided by Syndetics

CHOICE Review

Like its American cousin, vaudeville, British variety had its origins in the rough entertainment offered by male drinking establishments. The "British brand," developed in a class-bound society, retained its working-class identity as it transformed from long-program music hall shows into twice-nightly variety theater. In both the UK and the US, performance became gentrified and family oriented as it moved into elegant theaters. Double (Univ. of Kent, UK) distinguishes between theater with its imagined fourth wall, and the confrontational approach of variety. While variety performers usually base their performing personas on their own personality and theatrical actors assume fictional identities, the assumption that theatrical performers do not confront their audiences directly ignores much contemporary Shakespearean production in which actors do exactly that--especially in theaters without prosceniums. The excellent section on performance dynamics would be especially helpful to those involved in producing Shakespeare. The author discusses the impact of American music and performers on variety theater, and notes how British music hall influences reinvigorated American rock music. Many of the British performers cited can be found on YouTube, while the cited references include useful Internet resources. A good addition to theater and popular culture collections. Summing Up: Recommended. Students at all levels, researchers, and practitioners. R. Sugarman Southern Vermont College