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215:. Picket lines were organised into shifts outside theatres by workers and artistes. The news reached provincial theatres and managers attempted to convince their artistes to sign a contract promising never to join a trade union. The following year, the federation fought for more freedom and better working conditions on behalf of music-hall performers.
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attributed in part to the banning of alcohol in auditoriums and the introduction of the more popular variety show format, favoured by Stoll. Profits for the music hall proprietors who had not sold to Moss
Empires years earlier had fallen and so an expansion of their syndicate members was formed to control the outgoing expenditures.
180:. Between those years, Moss Empires had bought up many of the English music halls and had begun to dominate the business. Stoll became notorious among his employees for implementing a strict working atmosphere. He paid them a little wage and erected signs backstage prohibiting performers and stagehands from using coarse language.
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had worsened, and workers called for strike action. In support, theatrical workers followed suit and initiated widespread strikes across London. The disputes were funded by wealthy performers including Marie Lloyd. To raise spirits, Lloyd frequently performed on picket lines for free and took part in
107:
By 1875 there were 375 music halls in London with a further 384 in the rest of
England. In-line with the increased number of venues, proprietors enlisted a catering workforce who would supply food and alcohol to patrons. In London, and to capitalise on the increasing public demand, some entertainers
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in London, for which she donated her entire fee to the fund. Lloyd explained her advocacy: "We the stars can dictate our own terms. We are fighting not for ourselves, but for the poorer members of the profession, earning thirty shillings to ÂŁ3 a week. For this they have to do double turns, and now
183:
By the start of the 1900s music hall artistes had been in an unofficial dispute with theatre managers over the poor working conditions. Other factors included the poor pay, lack of perks, and a dramatic increase in the number of matinée performances. By 1903 audience numbers had fallen which was
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men who ate, drank alcohol and initiated illicit business deals together. They were entertained by performers who sang songs whilst the audience socialised. By the 1830s publicans designated specific rooms for patrons to go where they formed musical groups. The meetings culminated in a
Saturday
134:, but the improvements proved expensive and managers had to adhere to the strict safety regulations which had recently been introduced. Together with the increase of the performers fee, music hall proprietors were forced to sell their shares and formed syndicates with wealthy investors.
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who agreed that the humour was too risqué. They decided to imposed restrictions on the halls including the issuing of liquor licences. Unsatisfied, Chant further attempted to censor the halls by successfully convincing the council to erect large screens around the promenade at the
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actively invited women into his music hall, believing that they had a "civilising influence on the men". The surge in popularity further attracted female performers and by the 1860s, it had become common place for women to appear in the halls.
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initiated a brief strike on behalf of its members. Tensions between employees and management had by then grown to such a level that the strike was advocated enthusiastically by the main spokesmen for the trade union and Labour movement –
149:, who was a member of the Social Purity Alliance, disliked the innuendo displayed in music hall performances, and opined that the humour was attractive to nobody other than prostitutes who were beginning to sell their business in auditoriums.
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matinées have been added as well. These poor things have been compelled to submit to unfair terms of employment, and I mean to back up the federation in whatever steps are taken."
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The strike lasted for almost two weeks ending in arbitration, which satisfied most of the main demands, including a minimum wage and a maximum working week for performers.
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Music hall entertainment originated in the plethora of London taverns and coffee houses of 18th century. The atmosphere within the venues appealed mainly to
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To match the success of the modern layout of contemporary theatres, music hall proprietors began to adopt the same design. One such establishment, the
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frequently appeared at several halls each night. As a result, the performers became popular, not only in London, but in the
English provinces.
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employees, stage artistes and London theatre proprietors. The catalyst for the strikes were the employees' lack of pay, the scrapping of
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The strikes ended two weeks later and resulted in a rise in pay and better working conditions for both stage workers and artistes.
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evening presentation of the week's rehearsals. The meetings became popular and increased in number to two or three times a week.
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130:, was restyled as such in 1885. The refurbishments, which included fixed seating in the stalls, lead to the early origins of
165:, as part of the licensing conditions; the screens proved unpopular and were later pulled down by the protesting audiences.
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Music hall entertainment received its first surge in popularity during the 1860s the audiences of which consisted of mainly
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in London and lasted for two weeks. The dispute gained momentum owing to the support from popular entertainers including
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355:, London Metropolitan Archives, Information Leaflet Number 47, pp. 4–5, accessed 11 April 2013
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By the 1890s, music hall entertainment had earned a more risqué reputation. Artists including
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346:"Sources for the history of London Theatres and Music Halls at London Metropolitan Archives"
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68:, all of whom were active on picket lines outside both London and provincial theatres.
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Layout of the
Canterbury Music Hall, based on the design used in contemporary theatre
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On 21 January 1907, the dispute between artists, stage hands and managers of the
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were receiving frequent criticism from theatre reviewers and influential
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145:, who disagreed with the bawdy performances. The writer and feminist
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A 1907 propaganda poster, used to gain support in favour of performers
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487:"Strike of the month: Marie Lloyd and the music hall strike of 1907"
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Queen of the Music Halls: Being the
Dramatized Story of Marie Lloyd
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Reflecting the
Audience: London Theatregoing, 1840–1880
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magazine) 22 September 2007, accessed 25 November 2007
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The
Victorian Music Hall: Culture, Class and Conflict
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Manchester
Courier and Lancashire General Advertiser
302:, Victoria and Albert Museum, accessed 5 June 2014.
385:, Victoria and Albert Museum, accessed 5 June 2014
321:, Windyridge Music Hall CDs, accessed 5 June 2014.
202:The first significant rift came in 1906, when the
29:was a theatrical dispute which took place between
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424:"Music Hall War To Be Carried into Provinces",
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44:The strike commenced on 22 January 1907 at the
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676:20th century in the London Borough of Camden
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223:fundraising activities at among others the
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152:In 1895 Chant provided evidence to the
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526:Davis, Jim; Emeljanow, Victor (2001).
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172:had become the managing director of
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319:"A Brief History of the Music Hall"
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530:. Iowa: University of Iowa Press.
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383:"Victorian Theatre: Oswald Stoll"
661:1900s in the City of Westminster
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602:Macqueen-Pope, Walter (2010).
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566:Marie Lloyd: The One And Only
511:Marie Lloyd, the one and only
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27:The Music Hall Strike of 1907
283:Davis & Emeljanow, p. x.
204:Variety Artistes' Federation
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112:Preceding years and factors
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568:. London: Orion BooksLtd.
549:. London: Tom Stacey Ltd.
547:Marie Lloyd and Music Hall
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300:"The Story of Music Hall"
176:, a theatre chain led by
513:(Gollancz, London, 1999)
428:, 31 January 1907, p. 4.
351:5 September 2013 at the
267:"Music Hall War Ended",
255:, 5 February 1907, p. 8
564:Gillies, Midge (1999).
545:Farson, Daniel (1972).
450:, 25 January 1907, p. 3
271:, 9 November 1907, p. 4
99:people. The impresario
666:1900s in British music
606:. London: Nabu Press.
446:"The Music Hall War",
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651:British music history
583:Kift, Dagmar (1996).
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154:London County Council
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147:Laura Ormiston Chant
121:Laura Ormiston Chant
671:January 1907 events
492:8 July 2011 at the
251:"Music Hall War",
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613:978-1-171-60562-1
594:978-0-521-47472-6
575:978-0-7528-4363-6
556:978-0-85468-082-5
537:978-1-902806-18-1
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232:Resolutions
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209:Ben Tillett
197:Marie Lloyd
178:Edward Moss
139:Marie Lloyd
54:Marie Lloyd
631:Music hall
625:Categories
240:References
188:The strike
31:music hall
143:feminists
62:Joe Elvin
490:Archived
349:Archived
168:In 1898
66:Gus Elen
520:Sources
498:Tribune
39:matinée
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608:ISBN
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