Book contents
- The Year that Made the Musical
- Reviews
- The Year that Made the Musical
- Copyright page
- Dedication
- Contents
- Plates
- Figures
- Acknowledgements
- Chronology
- Abbreviations
- Part I From One Year to the Next
- 1 Legacies
- 2 Transnational Connections
- 3 Playing on the Past
- 4 Getting Ready for 1924
- Part II From Winter to Spring
- Part III From Summer to Autumn
- Part IV From December Onwards
- Select Discography and Videography
- Permissions
- Select Bibliography
- Index
- Plate Section (PDF Only)
4 - Getting Ready for 1924
from Part I - From One Year to the Next
Published online by Cambridge University Press: 26 September 2024
Book contents
- The Year that Made the Musical
- Reviews
- The Year that Made the Musical
- Copyright page
- Dedication
- Contents
- Plates
- Figures
- Acknowledgements
- Chronology
- Abbreviations
- Part I From One Year to the Next
- 1 Legacies
- 2 Transnational Connections
- 3 Playing on the Past
- 4 Getting Ready for 1924
- Part II From Winter to Spring
- Part III From Summer to Autumn
- Part IV From December Onwards
- Select Discography and Videography
- Permissions
- Select Bibliography
- Index
- Plate Section (PDF Only)
Summary
On 25 and 26 December 1923, three musicals opened – The Rise of Rosie-Reilly, Mary Jane McKane, and Almond Eye – each of which reflected takes on current theatrical trends, whether a rags-to-riches scenario or Orientalism, followed on New Year’s Eve by The Song and Dance Man, a play about a musician, and Kid Boots, a musical comedy created for Eddie Cantor and, as a Ziegfeld production, included a revue built in to the plot. Kid Boots marked a change in professional reputation for Cantor as he moved from being known primarily as a blackface, often crass, comedian to a physical comedian whose humour was always clean.
- Type
- Chapter
- Information
- The Year that Made the Musical1924 and the Glamour of Musical Theatre, pp. 47 - 58Publisher: Cambridge University PressPrint publication year: 2024