| “Variety” | A “rough” form of entertainment, performed largely in saloons for “stag” audiences. Variety is the immediate precursor to Vaudeville. (The two terms were not interchangable, though some of the acts undoubtedly were.) |
| “Vaudeville” | Most likely from the French “Val de Vire,” or valley of the Vire River, in Normandy. A place from whence came many satirical songs. Usually at the expense of the English |
| “Standard” acts | Generally song & dance; predictable, interchangeable and the foundation of Vaudeville bills. |
| Madison’s Budget | Written and compiled by James Madison, contained gags, stage business and sketch situations. Used extensively, especially by standard acts. |
| “Insurance” | Sure-fire, can’t-miss material. |
| “Specialties” | Magicians or Mentalists; excellent draws. |
| “In and Outers” | Performers who crossed over from the “legitimate” theatre to Vaudeville and back, Lillian Russell and Sarah Bernhardt being famous examples. |
| “Stoolpigeon” acts | Performers who reported rules infractions by other acts to management. |
| “Elimination Clause” | Gave theatre managers the authority to censor anything they thought offensive. |
| “Play or Pay Clause” | Guaranteed the act the entire amount of its contract, even if canceled. Often inserted arbitrarily by Keith/Albee to control performers. |
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Much of the puritannical excess in Vaudeville was due to the influence of Mrs. B.F. Keith. |
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| The Cherry Sisters | Hugely successful singers and possibly the worst act of all time. Totally serious, even while being pelted by audiences who paid for that privilege. |
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| Frank Tinney | Very big song & dance act. A white man performing in blackface but without using a so-called black dialect. |
| Bert Williams | Big time comedian and pantomimist, among the greatest performers ever. Before going solo, partnered for 20 years with the very talented George Walker. The first black person to appear with an otherwise white cast on Broadway. |
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“Bert Williams is the funniest man I’ve ever seen and the saddest man I’ve ever known,” said W.C. Fields, legendary Vaudeville juggler and comedian. |
| Eva Tanguay | Very big song & dance act. Succeeded through sheer force of personality, a fact she was quick to acknowledge, and regularly flaunted the puritanical Keith/Albee rules. Commanded up to $3000 a week. |
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By 1910, women rivaled men in “artistry and financial appeal.” In addition to Tanguay, Nora Bayes and Elsie Janis were among the brightest stars in vaudeville. |
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| Epe W. Sargent aka “Chicot” | Very influential vaudeville critic for the New York Morning Telegraph. |
| George Kelly | Most notable writer of one-act vaudeville sketches. Eventually went legit. |
| Percy G. Williams | Operated a chain of theatres in Brooklyn, the Bronx and Manhattan. A highly respected owner, he ultimately left his estate to performers. |
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Jewelry was considered a good investment by Vaudevillians. It looked great on stage and if times got tough, you could hock it. |
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| Elbridge T. Gerry | Founder of the Society for the Prevention of Cruelty to Children (SPCC), which became known as “The Gerry Society.” A crusader and, according to child star Buster Keaton, “a real pain in the neck.” |
| William Morris | Founder of the Wm. Morris Agency; very influential agent and constant pain in the ass to Keith/Albee. |
| Theatre Owners Booking Association | aka TOBA or “Tough On Black Asses.” Based in Chicago, booked black Vaudevillians in Chicago, St. Louis and points South. |
