THE ZIEGFELD FOLLIES: A STUDY OF THEATRICAL OPULENCE FROM 1907 TO 1931 (REVUE, MUSIC, SCENERY)

The twenty-two editions of the Ziegfeld Follies produced between 1907 and 1931 under Florenz Ziegfeld, Jr.'s supervision were extremely popular, meriting reviews, analyses and imitation. They were reported to be some of the most beautiful productions of their time, but details of scenery, costumes, and special effects can be found only in scattered published material. Because no detailed study of the Follies has ever been done, a decision was made to describe and analyze the series. Four editions (1907, 1915, 1921, and 1931) were chosen for detailed study because of their importance in the development of the series. From these and scene descriptions of other editions, conclusions were drawn as to the character of the revues, the type of comedy used, and the aesthetics of scenery and costumes.;The major conclusions drawn are: First, the Follies was intended as escapist entertainment with gentle satire and parody of prominent people and current events. They were popular because they reflected contemporary tastes and attitudes at the same time giving the audience a taste of European "naughtiness." As the audience changed, so did the Follies. Second, Ziegfeld was the prime determiner of the contents and aesthetics of the Follies although he was strongly influenced by designer Joseph Urban, and couturiere Lucile. Third, Ziegfeld's preference plus Urban's designs changed the direction of the revue from satire to spectacle. Fourth, the comedy in the Follies ranged from vaudeville-like acts to burlesques performed by some of the most talented comedians of the period. As the series progressed, the comedy became isolated in "star turns". Fifth, the scenery progressed from wings and drops to three-dimensional platforms, ramps, and staircases. Under Urban's influence, the scenery became less realistic and more decorative. With some exceptions, the scenery served as mere background for the spectacle, songs, and sketches. Sixth, costumes started out as typical vaudeville dress of the period, but as the Follies became more spectacular, the costumes became more opulent in design, fabric, and decoration.;The dissertation is divided into three chapters. Chapter I affirms the escapist nature of the revue, defines the Ziegfeld Touch, and reviews the Follies as a reflection of its society. Chapter II studies the various comedy techniques and comedians appearing over the years; Chapter III describes some of the scenery and costumes.