Article contents
‘The Canny Scot’: Harry Lauder and the Performance of Scottish Thrift in American Vaudeville1
Published online by Cambridge University Press: 30 August 2011
Abstract
Scottish vaudevillian Harry Lauder epitomized Scottishness in the Anglo-American cultural imaginary for much of the twentieth century. Yet Lauder's Scottishness was a carefully crafted performance, a collaborative effort between Lauder and his American agent, William Morris, centred on Lauder's embodiment of the ‘canny Scot’ stereotype. The article argues that this performance served two primary objectives within the context of early twentieth-century vaudeville. First, stories of Lauder's ‘characteristic’ Scottish thrift worked to deflect commentary about the star's status as a highly paid foreign commodity. By planting stories and arranging interviews that represented Lauder as a skilled and cunning Scot, Morris addressed growing anxieties that men, as well as women, were becoming mere cogs in the machine of corporate Broadway capital. Second, Morris's representation of Lauder as the epitome of all things Scottish guaranteed the loyal patronage of the Scottish diaspora and supported expressions of nationalist pride that were not antithetical to Scottish membership within the Union.
- Type
- Articles
- Information
- Copyright
- Copyright © International Federation for Theatre Research 2011
References
NOTES
2 McArthur, Colin, ‘Introduction’, in idem, ed., Scotch Reels: Scotland in Cinema and Television (London: British Film Institute, 1982), p. 2Google Scholar; McArthur, Colin, Brigadoon, Braveheart and the Scots: Distortions of Scotland in Hollywood Cinema (London and New York: I. B. Tauris & Co. Ltd, 1993)Google Scholar.
3 Cairns Craig, ‘Myths against History: Tartanry and Kailyard in 19th-century Scottish Literature’, in McArthur, Scotch Reels, pp. 7–15, here p. 13.
4 Arthur Herman, ‘The Tobaccomen of Glasgow and the Myth of Scottish Thrift’, available at http://archive.incharacter.org/printable.php?article=11, accessed 23 December 2010.
5 Gunn, Douglas M., ‘The Canny Scot’, Scots Magazine, 169, 2 (August 2008), pp. 189–95Google Scholar.
6 Brown, Ian, ‘In Exile from Ourselves? Tartanry, Scottish Popular Theatre, Harry Lauder and Tartan Day’, Études écossaises, 10 (2005) (online)Google Scholar, uploaded 31 March 2005, accessed 13 August 2010.
7 Cameron, Alasdair and Scullion, Adrienne, ‘W. F. Frame and the Scottish Popular Theatre Tradition’, in Scottish Popular Theatre and Entertainment (Glasgow: Glasgow University Press, 1996), p. 39Google Scholar.
8 Brown, ‘In Exile from Ourselves?’, p. 5.
9 Ibid., p. 6.
10 Berthoff, Roland, ‘Under the Kilt: Variations on the Scottish-American Ground’, Journal of American Ethnic History, 1 (Spring 1982), pp. 5–54Google Scholar, here p. 7.
11 ‘The Inimitable Lauder’, Chicago Record, 24 December 1908, Sir Harry Lauder Scrapbooks, Robinson Locke Collection, Billy Rose Theatre Collection, New York Public Library for the Performing Arts (hereafter RLC), Image ID: V311_032., http://digitalgallery.nypl.org/nypldigital/dgkeysearchresult.cfm?parent_id=668007&word=, accessed 23 December 2010. The same URL and access date applies for all following references to images from the Sir Harry Lauder scrapbooks.
12 ‘5,000 a Week for Lauder’, New York Times (hereafter NYT) 1 September 1908, p. 1.
13 ‘Lauder on His Salary’, NYT, 2 September 1908, p. 1; ‘London Season Is Opened’, Chicago Daily Tribune, 2 September 1908, p. 10.
14 ‘Says Lauder Is Bluffing’, NYT, 3 September 1908, p. 7; ‘Lauder's Salary Drops’, NYT, 6 September 1908, p. C1.
15 ‘Lauder's Salary Drops’, C1.
16 Laurie, Joe Jr, Vaudeville: From the Honky Tonks to the Palace (New York: Henry Holt & Co., 1953), p. 133Google Scholar.
17 ‘Those Old Lauder Contracts’, New York Telegraph, 15 November 1908, RLC, Image ID: V311_021, viewed 23 December 2010; untitled clipping, 1 December 1908, RLC, Image ID: V311_024.
18 Johnson, Claudia D., American Actress: Perspective on the Nineteenth Century (Chicago: Nelson-Hall, 1984)Google Scholar; Kibler, M. Alison, Rank Ladies: Gender and Cultural Hierarchy in American Vaudeville (Chapel Hill: University of North Carolina Press, 1999)Google Scholar; Glenn, Susan, Female Spectacle: The Theatrical Roots of Modern Feminism (Cambridge, MA: Harvard University Press, 2000)Google Scholar; Pullen, Kirsten, Actresses and Whores: On Stage and in Society (Cambridge: Cambridge University Press, 2005)Google Scholar; Johnson, Katie N., Sisters in Sin: Brothel Drama in America, 1900–1920 (Cambridge: Cambridge University Press, 2006)Google Scholar; Marra, Kim, Strange Duets: Impresarios & Actresses in the American Theatre, 1865–1914 (Iowa City: University of Iowa Press, 2006)Google Scholar.
19 Sue Case, Ellen, Feminism and Theatre (London: Methuen, 1988)Google Scholar; Dolan, Jill, The Feminist Spectator as Critic (Ann Arbor: University of Michigan Press, 1991)Google Scholar; Diamond, Elin, Unmaking Mimesis: Essays on Feminism and Theatre (New York & London: Routledge, 1997)Google Scholar.
20 One important exception is work on labour activism, which implicitly acknowledges the commodification of actors and actresses. Yet in framing the long-standing struggle between labour and management in militaristic terms, these historians avoid lengthy analysis of commodification as a process. Sean Patrick Holmes, ‘Weavers of Dreams, Unite: Constructing an Occupational Identity in the Actor's Equity Association, 1913–1934’, PhD dissertation, New York University, 1994; Golden, George Fuller, My Lady Vaudeville and Her White Rats (New York: published under the auspices of the Board of Directors of the White Rats of America, 1909)Google Scholar; Kibler, Rank Ladies, pp. 171–98.
21 Appadurai, Arjun, ‘Introduction: Commodities and the Politics of Value’, in idem, ed., The Social Life of Things: Commodities in Cultural Perspective (Cambridge: Cambridge University Press, 1986), p. 9CrossRefGoogle Scholar, emphasis in original.
22 Marra, Strange Duets, pp. xiii–xxii, 250 n. 4; Schweitzer, Marlis, When Broadway Was the Runway: Theater, Fashion, and American Culture (Philadelphia: University of Pennsylvania Press, 2009), 27Google Scholar; Caroll, David, Matinée Idols (New York: Arbor House, 1972)Google Scholar.
23 Studlar, Gaylyn, This Mad Masquerade: Stardom and Masculinity in the Jazz Age (New York: Columbia University Press, 1996), pp. 152–3Google Scholar.
24 Kibler, Rank Ladies, pp. 85–88.
25 Wertheim, Arthur Frank, Vaudeville Wars: How Keith-Albee and Orpheum Circuits Controlled the Big-Time and Its Performers (New York: Palgrave Macmillan, 2008), p. 132Google Scholar.
26 Wertheim, Vaudeville Wars, esp. pp. 117–33.
27 For a detailed analysis of ‘Advanced Vaudeville’ see my forthcoming article ‘A Failed Attempt at World Domination: “Advanced Vaudeville”, Financial Panic, and the Dream of a World Trust’, Theatre History Studies, 32 (2012).
28 Bernheim, Alfred L., The Business of the Theatre (New York: Actor's Equity Association, 1932), pp. 68–9Google Scholar; Grau, Robert, Forty Years’ Observation of Music and Drama (New York: Broadway Publishing Company, 1909), p. 12Google Scholar; Davis, Peter A., ‘The Syndicate/Shubert War’, in Taylor, William R., ed., Inventing Times Square: Commerce and Culture at the Crossroads of the World (New York: Russell Sage Foundation, 1991), pp. 147–57Google Scholar, here p. 151.
29 Laurie, Vaudeville, p. 372.
30 ‘Klaw Going to Europe’, Variety, 25 January 1908, p. 1.
31 ‘Morris Books Lauder to Open at the Circle’, Variety, 15 February 1908, p. 1.
32 ‘Foreign Business Finished; Morris Sails for Home’, Variety, 22 February 1908, p. 1.
33 On vaudeville salaries see Kibler, Rank Ladies, pp. 79–80; Grau, Forty Years’ Observation of Music and Drama, p. 10; Wertheim, Vaudeville Wars, p. 171.
34 Untitled clipping, RLC, Image ID: V311_020. On British music hall see Bailey, Peter, ed., Music Hall: The Business of Pleasure (Milton Keynes and Philadelphia: Open University Press, 1986)Google Scholar; Baker, Richard Anthony, British Music Hall: An Illustrated History (Phoenix Mill: Sutton Publishing, 2005)Google Scholar; Maloney, Paul, Scotland and the Music Hall (Manchester: Manchester University Press, 2003)Google Scholar.
35 Grau, Robert, ‘Fortunes Made on Actors’ Salaries’, Overland Monthly and Our West Magazine, lxv, 2 (February 1915), pp. 131–4Google Scholar.
36 Max Berol-Konorah, ‘Breaking European Contracts’, Variety, 14 December 1907, p. 27.
37 ‘Insures Lauder’, Variety, 31 October 1908, RLC, Image ID: V311_020.
38 ‘Harry Lauder Interviewed: American Audiences Give More Cheerful Welcome than British’, Washington Herald, 11 January 1908, p. 3, Chronicling America database, Library of Congress.
39 ‘What about This?’ New York Telegraph, 13 December 1908.
40 ‘A Harry Lauder Story that His Press Agent Has Conveniently Overlooked’, Toledo News Bee, 19 October 1909, RLC, Image ID: V311_065.
41 Untitled clipping, RLC, Image ID: V311_062.
42 ‘Lauder Tells of Scottish Thrift’, RLC, Image ID: V311_062.
43 Cook, James W., ‘Feejee Mermaid and the Market Revolution’, in idem, The Arts of Deception: Playing with Fraud in the Age of Barnum (Cambridge, MA: Harvard University Press, 2001), pp. 73–118Google Scholar.
44 Harris, Neil, Humbug: The Art of P. T. Barnum (Boston and Toronto: Little, Brown and Company, 1973), pp. 111–42Google Scholar.
45 Untitled article, Chicago Daily Tribune, 29 March 1908, p. G7.
46 Herman, ‘The Tobaccomen of Glasgow’.
47 Ibid.
48 Kibler, Rank Ladies, p. 87.
49 Abelson, Elaine, When Ladies Go A-thieving: Middle-Class Shoplifters in the Victorian Department Store (New York and Oxford: Oxford University Press, 1989)Google Scholar; Benson, Susan Porter, Counter Culture: Saleswomen, Managers and Customers in American Department Stores: 1890–1940 (Urbana and Chicago: University of Illinois Press, 1986)Google Scholar; Leach, William R., Land of Desire: Merchants, Power, and the Rise of a New American Culture (New York: Pantheon Books, 1993)Google Scholar.
50 Bruner, Robert F. and Carr, Sean D., The Panic of 1907: Lessons Learned from the Market's Perfect Storm (Hoboken, NJ: John Wiley & Sons, Inc., 2007)Google Scholar.
51 ‘Lauder Tells of Scottish Thrift’, New York Telegraph, 11 October 1909, RLC, Image ID: V311_062.
52 ‘Lauder Talks of Kilts’, RLC, Image ID: V311_023. Rose, Frank, The Agency: William Morris and the Hidden History of Show Business (New York: HarperBusiness, 1995), p. 28Google Scholar.
53 Untitled clipping, RLC, Image ID: V311_018.
54 Bailey, Peter, ‘Music-Hall and the Knowingness of Popular Culture’, in idem, Popular Culture and Performance in the Victorian City (Cambridge: Cambridge University Press, 2003), pp. 131–2Google Scholar.
55 Berthoff, ‘Under the Kilt’, p. 7.
56 Ibid.
57 Ibid., p. 12.
58 ‘Newsboy Home Fund Swelled by Concerts’, Pittsburgh Post, 17 December 1908, RLC, Image ID: V311_030; Berthoff, ‘Under the Kilt’, p. 12.
59 ‘The Inimitable Lauder’; ‘Scotch Humour Set Theatre Roaring’, New York World, 5 November 1907, p. 6.
60 Kibler, M. Alison, ‘The Stage Irishwoman’, Journal of American Ethnic History, 24 (Spring 2005), pp. 5–30Google Scholar, here p. 22.
61 Morton, Graeme, Unionist Nationalism: Governing Urban Scotland, 1830–1860 (East Linton: Tuckwell Press, Ltd., 1999), p. 6Google Scholar; Kidd, Colin, ‘Race, Empire, and the Limits of Nineteenth-Century Scottish Nationhood’, Historical Journal, 46, 4 (2003), pp. 873–92Google Scholar.
- 3
- Cited by