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Rose La Rose and the Re-Ownership of American Burlesque, 1935-1972

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Rose La Rose and the Re-Ownership of American Burlesque, 1935-1972 TAUGHT IT TO THE TRADE: ROSE LA ROSE AND THE RE-OWNERSHIP OF AMERICAN BURLESQUE, 1935-1972 DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Elizabeth Wellman Graduate Program in Theatre The Ohio State University 2015 Dissertation Committee: Jennifer Schlueter, Advisor Beth Kattelman Joy Reilly Copyright by Elizabeth Wellman 2015 ABSTRACT Declaring burlesque dead has been a habit of the twentieth century. Robert C. Allen quoted an 1890s letter from the first burlesque star of the American stage, Lydia Thompson in Horrible Prettiness: Burlesque and American Culture (1991): “[B]urlesque as she knew it ‘has been retired for a time,’ its glories now ‘merely memories of the stage.’”1 In 1931, Bernard Sobel opined in Burleycue: An Underground History of Burlesque Days, “Alas! You will never get a chance to see one of the real burlesque shows again. They are gone forever…”2 In 1938, The Billboard published an editorial that began, “On every hand the cry is ‘Burlesque is dead.’”3 In fact, burlesque had been declared dead so often that editorials began popping up insisting it could be revived, as Joe Schoenfeld’s 1943 op-ed in Variety did: “[It] may be in a state of putrefaction, but it is a lusty and kicking decomposition.”4 It is this “lusty and kicking decomposition” which characterizes the published history of burlesque. Since its modern inception in the late nineteenth century, American burlesque has both been framed and framed itself within this narrative of degeneration. This narrative consistently reaffirms that the burlesque that came before was superior, worthwhile, real, or legitimate, and that the current state of burlesque is dire, on the edge of complete moral and artistic decay. In many ways, this ii narrative of perpetual degeneracy is burlesque’s most salient feature. This dissertation examines the narrative of degeneracy in American burlesque between 1935 and 1972, as it permeates popular culture, impacts the development of the burlesque circuit, and is disrupted or re-interrogated by performers who began operating their own burlesque theaters, offering a cultural study of the stripper in popular discourse, the American burlesque circuit, and the career of Rose La Rose in the hopes of achieving what cultural historian John Storey calls “an active undoing." 5 1 Robert Clyde Allen, Horrible Prettiness: Burlesque and American Culture (Chapel Hill: University of North Carolina Press, 1991), 236. 2 Bernard Sobel, Burleycue: An Underground History of Burlesque Days (New York: Farrar & Rinehart, 1931), 262. 3The Billboard was renamed Billboard Music Week in 1961 and then Billboard in 1963; Jimmy Stanton, "The Forum: Plugs Comedy as Essential Burlesque Aid,"The Billboard (Archive: 1894-1960), March 19, 1938, 33 [ProQuest Multiple Databases]. 4 Joe Schoenfeld, Variety (Archive: 1905-2000), January 8, 1941, 146, [ProQuest Multiple Databases]. 5 John Storey, Inventing Popular Culture: From Folklore to Globalization (Malden, MA: Blackwell Pub., 2003), 93-94. iii For Rose, and Buddy, and all the rest iv ACKNOWLEDGEMENTS Thank you to Jennifer Schlueter for her incredible example as an advisor, teacher, and mentor. I am endlessly grateful to her for her keen eye, her patience, and her ability to find in my initial wide-eyed stumbling through burlesque history the seeds of this project. I thank her for framing my mistakes and shortcomings as possibilities, for seeing the best in me, for demanding my best work, for helping me stay joyful in this project, and for reveling in the research with me. My heartiest thanks to Beth Kattelman for her archival expertise, strong scholarship, and kindness over the past six years of graduate school. I am so thankful to have been taught and guided by her as an advisee, a student, and a research assistant at the Theatre Research Institute. Thank you to Joy Reilly for her willingness to listen, her graciousness as a teacher, and for passing on her deep love and commitment to her field and her students. I am so grateful for her time and energy. My deepest gratitude to Charles H. McCaghy for his collection which sparked my initial passion for burlesque history, introduced me to Rose La Rose, and was absolutely essential to this entire dissertation. All my thanks to the Lawrence and Lee Theatre Research Institute, to the Head of Thompson Library Special Collections, Nena Couch, Curator of Theatre, Beth Kattelman, and Assistant Curator, Orville Martin for introducing me to the McCaghy Collection, for sharing their expertise so generously, and for facilitating such access to the archives. My thanks to all the staff members in the Ohio State University Special Collections at Thompson Library for their patience and assistance with materials for the last several years. I am indebted to Janelle Smith for her great generosity over the past two years. I thank her for sharing her immense personal collection of burlesque photographs, costumes, and ephemera with me, as well as for her invaluable knowledge of burlesque history and culture. I thank her for her frequent assistance in identifying performers and obtaining rare archival materials and I thank her for her friendship. Many thanks to the staff in the University of Nevada-Las Vegas Special Collections at Lied Library for their kindness and assistance during my August 2014 visit. v Thank you to my mother who taught me to read and to my father who taught me to love the minutia written there. All my love and thanks to my husband, Kyle, for his sacrifices and understanding over the past six years of school. No words are big enough. Research for this dissertation was partially supported by the Critical Difference for Women Graduate Studies Grant made possible by the Coca Cola Foundation and the Department of Women’s, Gender and Sexuality Studies at The Ohio State University, as well as the Aida Cannarsa Snow Endowment Fund in the College of the Arts and the John C. Morrow Memorial Fund. vi VITA 2008……………………………………………………………B.A. Theatre, Adams State University 2011……………………………………………M.A. Theatre, The Ohio State University 2009 to 2015…………………...Graduate Teaching Associate, The Ohio State University Fields of Study Major Field: Theatre vii TABLE OF CONTENTS Abstract ..............................................................................................................................ii Dedication ......................................................................................................................... iv Acknowledgements............................................................................................................ v Vita................................................................................................................................... vii List of Figures…………………………………………………………………………….ix Chapter 1: Introduction .......................................................................................................1 Chapter 2: The Stripper in Popular Discourse…...............................................................33 Chapter 3: Working Strong on the Burlesque Circuit…………........................................65 Chapter 4: Re-Ownership………………………............................................................103 Chapter 5: Conclusion......................................................................................................144 Bibliography....................................................................................................................158 Appendix A: American Burlesque Circuits Timeline……………………......................179 Appendix B: Rose La Rose Career Timeline…………………………………….……..188 viii LIST OF FIGURES Figure 1: Rose La Rose in production still of her "Oriental Dance" from the film, Queen of Burlesque (1946), Reproduced with special permission from The Jerome Lawrence and Robert E. Lee Theatre Research Institute…………………………………………...21 Figure 2: La Rose with her mother, Jennie in personal snapshot, reproduced with special permission from the Jerome Lawrence and Robert E. Lee Theatre Research Institute…43 Figure 3: Rose La Rose with unknown reporter backstage, location/date unknown, reproduced with special permission from the Jerome Lawrence and Robert E. Lee Theatre Research Institute………………………………………………………………..45 Figure 4: La Rose posing for photographers, location/date unknown, reproduced with special permission from the Jerome Lawrence and Robert E. Lee Theatre Research Institute…………………………………………………………………………………..47 Figure 5: Newspaper advertisement featuring Rose La Rose at the Rialto in Chicago, dated between 1938-1940, reproduced with special permission from BurlyQNell: The Janelle Smith Collection…………………………………………………………………86 Figure 6: 1960s newspaper advertisement for the Park, reproduced with special permission from BurlyQNell: The Janelle Smith Collection………………………….…93 Figure 7: Newspaper advertisement for one of Irma the Body's appearances at Rose La Rose's Town Hall, reproduced with special permission from BurlyQNell: The Janelle Smith Collection………………………………………………………………………..110 Figure 8: Rose La Rose posing in front of a banner at Snookie's night club, reproduced with special permission from the Jerome Lawrence and Robert E. Lee Theatre Research Institute…………………………………………………………………………………114 Figure 9: Rose La Rose's handwritten instructions for the stagehand, likely written late 1960s, reproduced with special permission from the Jerome Lawrence and Robert E. Lee Theatre Research Institute………………………………………………………………121
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