Vaudeville in 1919

By 1919, Vaudeville had evolved into a highly systematized entertainment industry, dominated by major circuits like Keith-Albee and the Orpheum Circuit. These circuits operated hierarchically structured theater chains, with venues categorized as "big-time" houses (offering continuous high-quality performances) and "small-time" theaters (running continuous shows of lesser-known acts). The most prestigious venues, such as the Palace Theatre in New York, commanded significant cultural capital and served as career-defining venues for performers.

The post-World War I period brought distinct characteristics to Vaudeville programming. A typical 1919 bill would consist of eight to twelve acts, carefully structured to maintain audience engagement. The standard format began with an opening "dumb act" (typically acrobats or animal acts), building through comedic and musical performances to a headlining act, and concluding with another "dumb act" as audiences departed. This period saw the rise of more sophisticated comedy routines that addressed contemporary social issues, particularly those relating to prohibition, women's suffrage, and post-war societal changes.

The material culture of 1919 Vaudeville was distinctive. Theaters featured elaborate architectural elements, including ornate proscenium arches, advanced electrical lighting systems, and orchestra pits. Performers typically carried their own sets and props in specialized theatrical trunks, developing acts that could be rapidly assembled and disassembled to accommodate the demanding schedule of twice-daily performances.

Significantly, 1919 marked a period of increasing competition from motion pictures. While many Vaudeville houses had incorporated short films into their programs since the early 1910s, the growing sophistication of feature films began to present a genuine challenge to live entertainment. This year saw many theaters experimenting with hybrid programming, combining traditional Vaudeville acts with longer film presentations.

The socioeconomic context of 1919 Vaudeville reflects broader American cultural patterns. Ticket prices were strategically tiered, with orchestra seats commanding premium prices while gallery seats remained accessible to working-class patrons. This pricing structure maintained Vaudeville's characteristic cross-class appeal while maximizing revenue. The average admission price in major urban venues ranged from 15 cents to $1.50, representing a significant entertainment expenditure for the period.

Performer demographics in 1919 demonstrated both the inclusive and exclusionary aspects of Vaudeville. While the circuit system provided unprecedented professional opportunities for women, ethnic minorities, and immigrants, these performers often navigated complex expectations regarding cultural representation. Jewish, Irish, and Italian performers frequently incorporated ethnic humor into their acts, both reinforcing and subverting contemporary stereotypes.

The business structure of 1919 Vaudeville was highly professionalized. Performers secured bookings through a complex network of agents and booking offices, with contracts specifying precise performance requirements and behavioral expectations. The standard contract prohibited performers from appearing at competing venues within specified geographic regions and time periods, reflecting the industry's sophisticated approach to market control.

The Theater Owners Booking Association (TOBA), established in 1909 and colloquially known among African-American performers as "Tough on Black Actors," operated a parallel circuit of venues serving predominantly Black audiences in 1919. These theaters, concentrated in major urban centers and throughout the South, provided crucial performance opportunities for African-American artists while operating under significantly more challenging economic conditions than their white counterparts. Notable TOBA venues in 1919 included the Howard Theater in Washington, D.C., the Royal Theater in Baltimore, and the Lincoln Theater in New York City. These establishments maintained production values and programming structures similar to mainstream Vaudeville, though often operating with more limited resources and facing discriminatory business practices in advertising, banking, and venue acquisition.

In mainstream Vaudeville circuits of 1919, a select number of African-American performers achieved prominent billing, though they faced significant restrictions and discriminatory practices. Bert Williams, performing in white face as part of his complex theatrical persona, maintained his position as one of Vaudeville's highest-paid performers, while the dance team of Dotson and Goins garnered critical acclaim for their sophisticated tap routines. The comedy duo of Cooper and Robinson successfully navigated the delicate balance of appealing to white audiences while maintaining artistic integrity, though they, like other Black performers, were frequently required to perform in segregated theaters and were excluded from certain venues entirely. Bill "Bojangles" Robinson, though not yet at the height of his fame, was building his reputation in 1919 through appearances on both the TOBA circuit and in mainstream Vaudeville houses, where his virtuosic stair dance routine was beginning to attract significant attention from critics and audiences alike.

Bill Robinson Stair Dance Introduced in 1918.