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This element of surprise colored much of the reaction to the female entertainment of this time. In addition to vaudeville's prominence as a form of American entertainment, it reflected the newly evolving urban inner city culture and interaction of its operators and audience. Making up a large portion of immigration to the United States in the midth century, Irish Americans interacted with established Americans, with the Irish becoming subject to discrimination due to their ethnic physical and cultural characteristics. The ethnic stereotypes of Irish through their greenhorn depiction alluded to their newly arrived status as immigrant Americans, with the stereotype portrayed in avenues of entertainment.

Following the Irish immigration wave, several waves followed in which new immigrants from different backgrounds came in contact with the Irish in America's urban centers. Already settled and being native English speakers, Irish Americans took hold of these advantages and began to assert their positions in the immigrant racial hierarchy based on skin tone and assimilation status, cementing job positions that were previously unavailable to them as recently arrived immigrants. The interactions between newly arrived immigrants and settled immigrants within the backdrop of the unknown American urban landscape allowed vaudeville to be utilized as an avenue for expression and understanding.

The often hostile immigrant experience in their new country was now used for comic relief on the vaudeville stage, where stereotypes of different ethnic groups were perpetuated. Coupled with their historical presence on the English stage for comic relief, [16] and as operators and actors of the vaudeville stage, Irish Americans became interpreters of immigrant cultural images in American popular culture. New arrivals found their ethnic group status defined within the immigrant population and in their new country as a whole by the Irish on stage.

Conflict between Irish and African Americans saw the promotion of black-face minstrelsy on the stage, purposefully used to place African Americans beneath the Irish in the racial and social urban hierarchy. Although the Irish had a strong Celtic presence in vaudeville and in the promotion of ethnic stereotypes, the ethnic groups that they were characterizing also utilized the same humor.

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As the Irish donned their ethnic costumes, groups such as the Chinese, Italians, Germans and Jews utilized ethnic caricatures to understand themselves as well as the Irish. The ethnic caricatures that now comprised American humor reflected the positive and negative interactions between ethnic groups in America's cities. The caricatures served as a method of understanding different groups and their societal positions within their cities. In addition to interpreting visual ethnic caricatures, the Irish American ideal of transitioning from the shanty [22] to the lace curtain [18] became a model of economic upward mobility for immigrant groups.

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The continued growth of the lower-priced cinema in the early s dealt the heaviest blow to vaudeville. This was similar to the advent of free broadcast television 's diminishing the cultural and economic strength of the cinema. Cinema was first regularly commercially presented in the US in vaudeville halls. The first public showing of movies projected on a screen took place at Koster and Bial's Music Hall in Lured by greater salaries and less arduous working conditions, many performers and personalities, such as Al Jolson , W.

In doing so, such performers often exhausted in a few moments of screen time the novelty of an act that might have kept them on tour for several years. They left live performance before achieving the national celebrity of earlier vaudeville stars, and found fame in new venues. The line between live and filmed performances was blurred by the number of vaudeville entrepreneurs who made more or less successful forays into the movie business.

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For example, Alexander Pantages quickly realized the importance of motion pictures as a form of entertainment. He incorporated them in his shows as early as Later, he entered into partnership with the Famous Players-Lasky , a major Hollywood production company and an affiliate of Paramount Pictures. By the late s, most vaudeville shows included a healthy selection of cinema. Earlier in the century, many vaudevillians, cognizant of the threat represented by cinema, held out hope that the silent nature of the "flickering shadow sweethearts" would preclude their usurpation of the paramount place in the public's affection.

With the introduction of talking pictures in , the burgeoning film studios removed what had remained the chief difference in favor of live theatrical performance: Historian John Kenrick wrote:. Top vaudeville stars filmed their acts for one-time pay-offs, inadvertently helping to speed the death of vaudeville. After all, when "small time" theatres could offer "big time" performers on screen at a nickel a seat, who could ask audiences to pay higher amounts for less impressive live talent?

The newly-formed RKO studios took over the famed Orpheum vaudeville circuit and swiftly turned it into a chain of full-time movie theatres. The half-century tradition of vaudeville was effectively wiped out within less than four years. Inevitably, managers further trimmed costs by eliminating the last of the live performances. Vaudeville also suffered due to the rise of broadcast radio following the greater availability of inexpensive receiver sets later in the decade. Even the hardiest in the vaudeville industry realized the form was in decline; the perceptive understood the condition to be terminal.

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The standardized film distribution and talking pictures of the s confirmed the end of vaudeville. By , the vast majority of formerly live theatres had been wired for sound, and none of the major studios were producing silent pictures. For a time, the most luxurious theatres continued to offer live entertainment, but most theatres were forced by the Great Depression to economize.

Some in the industry blamed cinema's drain of talent from the vaudeville circuits for the medium's demise. Others argued that vaudeville had allowed its performances to become too familiar to its famously loyal, now seemingly fickle audiences. There was no abrupt end to vaudeville, though the form was clearly sagging by the late s. The shift of New York City's Palace Theatre, vaudeville's epicenter, to an exclusively cinema presentation on November 16, is often considered to have been the death knell of vaudeville.

Though talk of its resurrection was heard during the s and later, the demise of the supporting apparatus of the circuits and the higher cost of live performance made any large-scale renewal of vaudeville unrealistic. The most striking examples of Gilded Age theatre architecture were commissioned by the big time vaudeville magnates and stood as monuments of their wealth and ambition.

Examples of such architecture are the theatres built by impresario Alexander Pantages. Pantages often used architect B. Marcus Priteca — , who in turn regularly worked with muralist Anthony Heinsbergen. Priteca devised an exotic, neo-classical style that his employer called "Pantages Greek".

Though classic vaudeville reached a zenith of capitalization and sophistication in urban areas dominated by national chains and commodious theatres, small-time vaudeville included countless more intimate and locally controlled houses. Small-time houses were often converted saloons, rough-hewn theatres, or multi-purpose halls, together catering to a wide range of clientele. Many small towns had purpose-built theatres.

Some of the most prominent vaudevillians successfully made the transition to cinema, though others were not as successful. Some performers such as Bert Lahr fashioned careers out of combining live performance with radio and film roles. Many others later appeared in the Catskill resorts that constituted the " Borscht Belt ".

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Vaudeville was instrumental in the success of the newer media of film, radio, and television. Comedies of the new era adopted many of the dramatic and musical tropes of classic vaudeville acts. Film comedies of the s through the s used talent from the vaudeville stage and followed a vaudeville aesthetic of variety entertainment, both in Hollywood and in Asia, including China.

The structure of a single host introducing a series of acts became a popular television style and can be seen consistently in the development of television, from The Milton Berle Show in to Late Night With David Letterman in the s. References to vaudeville and the use of its distinctive argot continue throughout Western popular culture. Friday, Jan 18th 5-Day Forecast.

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