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Though a theatre rather than a music hall, this establishment later hosted music hall variety acts. The establishment often regarded as the first true music hall was the Canterbury , Westminster Bridge Road , Lambeth built by Charles Morton , afterwards dubbed "the Father of the Halls", on the site of a skittle alley next to his pub, the Canterbury Tavern.

It opened on 17 May and was described by the musician and author Benny Green as being "the most significant date in all the history of music hall".

It was further extended in , later rebuilt as a variety theatre and finally destroyed by German bombing in Another early music hall was The Middlesex, Drury Lane Later converted into a theatre it was demolished in The New London Theatre stands on its site.

Several large music halls were built in the East End. This theatre was rebuilt during by Frank Matcham , the architect of the Hackney Empire.

Designed by William Finch Hill the designer of the Britannia theatre in nearby Hoxton , it was rebuilt after a fire in During it was rebuilt as a variety theatre and renamed as the Holborn Empire.

It was closed as a result of German action in the Blitz on the night of 11—12 May and the building was pulled down in He sold the music hall to South Eastern Railway in , and the site became Charing Cross railway station.

With the proceeds from selling his first music hall, Gatti acquired a restaurant in Westminster Bridge Road , opposite The Canterbury music hall.

It later became a cinema. The building was badly damaged in the Second World War, and was demolished in In , he acquired a public house in Villiers Street named "The Arches", under the arches of the elevated railway line leading to Charing Cross station.

By , there were 32 music halls in London seating between and 5, people plus an unknown, but large, number of smaller venues. In , numbers peaked, with 78 large music halls in the metropolis and smaller venues.

Thereafter numbers declined due to stricter licensing restrictions imposed by the Metropolitan Board of Works and LCC , and because of commercial competition between popular large suburban halls and the smaller venues, which put the latter out of business.

A new era of variety theatre was developed by the rebuilding of the London Pavilion in Hitherto the halls had borne unmistakeable evidence of their origins, but the last vestiges of their old connections were now thrown aside, and they emerged in all the splendour of their new-born glory.

The highest efforts of the architect, the designer and the decorator were enlisted in their service, and the gaudy and tawdry music hall of the past gave way to the resplendent "theatre of varieties" of the present day, with its classic exterior of marble and freestone, its lavishly appointed auditorium and its elegant and luxurious foyers and promenades brilliantly illuminated by myriad electric lights.

One of the most famous of these new palaces of pleasure in the West End was the Empire, Leicester Square , built as a theatre in but acquiring a music hall licence in Like the nearby Alhambra this theatre appealed to the men of leisure by featuring alluring ballet dancers and had a notorious promenade which was the resort of courtesans.

Another spectacular example of the new variety theatre was the Tivoli in the Strand built —90 in an eclectic neo-Romanesque style with Baroque and Moorish-Indian embellishments.

Both were designed by the prolific Frank Matcham. The acceptance of music hall as a legitimate cultural form was established by the first Royal Variety Performance before King George V during at the Palace Theatre.

However, consistent with this new respectability the best-known music hall entertainer of the time, Marie Lloyd , was not invited, being deemed too "saucy" for presentation to the monarchy.

The development of syndicates controlling a number of theatres, such as the Stoll circuit, increased tensions between employees and employers.

On 22 January , a dispute between artists, stage hands and managers of the Holborn Empire worsened. The strike lasted for almost two weeks and was known as the Music Hall War.

Picket lines were organized outside the theatres by the artistes, while in the provinces theatre management attempted to oblige artistes to sign a document promising never to join a trade union.

The strike ended in arbitration, which satisfied most of the main demands, including a minimum wage and maximum working week for musicians.

Several music hall entertainers such as Marie Dainton , Marie Lloyd , Arthur Roberts , Joe Elvin and Gus Elen were strong advocates of the strike, though they themselves earned enough not to be concerned personally in a material sense.

We the stars can dictate our own terms. 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.

World War I may have been the high-water mark of music hall popularity. The artists and composers threw themselves into rallying public support and enthusiasm for the war effort.

Many songs promoted recruitment "All the boys in khaki get the nice girls", ; others satirised particular elements of the war experience.

Tilley became more popular than ever during this time, when she and her husband, Walter de Frece , managed a military recruitment drive. She also performed in hospitals and sold war bonds.

Her husband was knighted in for his own services to the war effort, and Tilley became Lady de Frece. After conscription was brought in , songs dealing with the war spoke mostly of the desire to return home.

Many also expressed anxiety about the new roles women were taking in society. Possibly the most notorious of music hall songs from the First World War was " Oh!

Music hall continued during the interwar period , but no longer as the single dominant form of popular entertainment in Britain.

The improvement of cinema, the development of radio, and the cheapening of the gramophone damaged its popularity greatly. It now had to compete with jazz , swing and big band dance music.

Licensing restrictions also changed its character. In , the London County Council LCC enacted that drinking be banished from the auditorium into a separate bar and during even the separate bar was abolished by parliamentary decree.

The exemption of the theatres from this latter act prompted some critics to denounce this legislation as an attempt to deprive the working classes of their pleasures, as a form of social control, whilst sparing the supposedly more responsible upper classes who patronised the theatres though this could be due to the licensing restrictions brought about due to the Defence of the Realm Act , which also applied to public houses as well.

In the early s, rock and roll , whose performers initially topped music hall bills, attracted a young audience who had little interest in the music hall acts while driving the older audience away.

Some music halls tried to retain an audience by putting on striptease acts. In , the playwright John Osborne delivered this elegy: The music hall is dying, and with it, a significant part of England.

Some of the heart of England has gone; something that once belonged to everyone, for this was truly a folk art. Moss Empires , the largest British music hall chain, closed the majority of its theatres in , closely followed by the death of music hall stalwart Max Miller in , prompting one contemporary to write that: Many music hall performers, unable to find work, fell into poverty; some did not even have a home, having spent their working lives living in digs between performances.

Stage and film musicals, however, continued to be influenced by the music hall idiom, including Oliver!

The BBC series The Good Old Days , which ran for thirty years, recreated the music hall for the modern audience, and the Paul Daniels Magic Show allowed several speciality acts a television presence from to The music hall was first imported into France in its British form in , but under the French law protecting the state theatres, performers could not wear costumes or recite dialogue, something only allowed in theaters.

When the law changed in , the Paris music hall flourished, and a half-dozen new halls opened, offering acrobats, singers, dancers, magicians, and trained animals.

The first Paris music call built specially for that purpose was the Folies-Bergere ; it was followed by the Moulin Rouge , the Alhambra , the first to be called a music hall, and the Olympia The Printania was a music-garden, open only in summer, with a theater, restaurant, circus, and horse-racing.

Older theaters also transformed themselves into music halls, including the Bobino , the Bataclan , and the Alcazar At the beginning, music halls offered dance reviews, theater and songs, but gradually songs and singers became the main attraction.

Paris music halls all faced stiff competition in the interwar period from the most popular new form of entertainment, the cinema.

They responded by offering more complex and lavish shows. In , the Olympia had introduced the giant stairway as a set for its productions, an idea copied by other music halls.

One of the most popular entertainers in Paris during the period was the American singer Josephine Baker. Baker sailed to Paris, France.

The music-halls suffered growing hardships in the s. The Olympia was converted into a movie theater, and others closed.

Others continued to thrive. In and , the Casino de Paris presented shows with Maurice Chevalier , who had already achieved success as an actor and singer in Hollywood.

He persuaded her to sing despite her extreme nervousness. Her nightclub appearance led to her first two records produced that same year, and the beginning of a legendary career.

Competition from movies and television largely brought an end to the Paris music hall. However, a few still flourish, with tourists as their primary audience.

The musical forms most associated with music hall evolved in part from traditional folk song and songs written for popular drama, becoming by the s a distinct musical style.

Subject matter became more contemporary and humorous, and accompaniment was provided by larger house-orchestras as increasing affluence gave the lower classes more access to commercial entertainment and to a wider range of musical instruments, including the piano.

The consequent change in musical taste from traditional to more professional forms of entertainment arose in response to the rapid industrialisation and urbanisation of previously rural populations during the Industrial Revolution.

The newly created urban communities, cut off from their cultural roots, required new and readily accessible forms of entertainment.

Music halls were originally tavern rooms which provided entertainment, in the form of music and speciality acts, for their patrons. By the middle years of the nineteenth century, the first purpose-built music halls were being built in London.

The halls created a demand for new and catchy popular songs that could no longer be met from the traditional folk song repertoire. Professional songwriters were enlisted to fill the gap.

The emergence of a distinct music hall style can be credited to a fusion of musical influences. Music hall songs needed to gain and hold the attention of an often jaded and unruly urban audience.

In America, from the s, Stephen Foster had reinvigorated folk song with the admixture of Negro spiritual to produce a new type of popular song.

Songs like " Old Folks at Home " [49] and " Oh, Dem Golden Slippers " James Bland, [50] spread round the globe, taking with them the idiom and appurtenances of the minstrel song.

Other influences on the rapidly developing music hall idiom were Irish and European music, particularly the jig , polka , and waltz. Typically, a music hall song consists of a series of verses sung by the performer alone, and a repeated chorus which carries the principal melody, and in which the audience is encouraged to join.

In Britain, the first music hall songs often promoted the alcoholic wares of the owners of the halls in which they were performed. Songs like "Glorious Beer", [51] and the first major music hall success, Champagne Charlie had a major influence in establishing the new art form.

When asked why the tune should be used like this, William Booth is said to have replied "Why should the devil have all the good tunes?

By the s, the songs were free of their folk music origins, and particular songs also started to become associated with particular singers, often with exclusive contracts with the songwriter, just as many pop songs are today.

Towards the end of the style the music became influenced by ragtime and jazz , before being overtaken by them. Music hall songs were often composed with their working class audiences in mind.

Music hall songs could be romantic, patriotic, humorous or sentimental, as the need arose. Although a number of songs show a sharply ironic and knowing view of working class life, there were, too, those which were repetitive, derivative, written quickly and sung to make a living rather than a work of art.

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