A revue is a type of multi-act popular theatrical entertainment that combines music, dance and sketches. The revue has its roots in 19th century American popular entertainment and melodrama but grew into a substantial cultural presence of its own during its golden years from 1916 to 1932. Though most famous for their visual spectacle, revues frequently satirized contemporary figures, news or literature. Due to high ticket prices, ribald publicity campaigns and the occasional use of prurient material, the revue was typically patronized by audience members who earned more and felt less restricted by middle-class social mores than their contemporaries in vaudeville. Like much of that era's popular entertainments, revues often featured material based on sophisticated, irreverent dissections of topical matter, public personae and fads, though the primary attraction was found in the frank display of the female body.

Etymology[link]

George Lederer's The Passing Show (1894) is usually held to be the first successful American "review." The English spelling was used until 1907 when Florenz Ziegfeld popularized the French spelling. "Follies" is now sometimes (incorrectly) employed as an analog for "revue," though the term was proprietarial with Ziegfeld until his death in 1932. Other popular proprietarial revue names included George White's "Scandals" and Earl Carroll's "Vanities."

Origin[link]

Revues are most properly understood as having amalgamated several theatrical traditions within the corpus of a single entertainment. Minstrelsy's olio section provided a structural map of popular variety presentation, while literary travesties highlighted an audience hunger for satire. Theatrical extravaganzas, in particular, moving panoramas, demonstrated a vocabulary of the spectacular. Burlesque, itself a bawdy hybrid of various theatrical forms, lent to classic revue an open interest in female sexuality and the masculine gaze.

Golden age[link]

Revues enjoyed great success on Broadway from the World War I years until the Great Depression, when the stock market crash forced many revues from cavernous Broadway houses into smaller venues. (The shows did, however, continue to infrequently appear in large theatres well into the 1950s.) The high ticket prices of many revues helped ensure audiences distinct from other live popular entertainments during their height of popularity (late 1910s–40s). In 1914, the Follies charged $5.00 for an opening night ticket ($106.22 in 2008 dollars); at that time, many cinema houses charged from $0.10 to 0.25, while low-priced vaudeville seats could be had for $0.15.^[1] Among the many popular producers of revues, Florenz Ziegfeld played the greatest role in developing the classical revue through his glorification of a new theatrical "type," "the American girl." Famed for his often bizarre publicity schemes and continual debt, Ziegfeld joined Earl Carroll, George White, and the Shubert Brothers as the leading producing figure of the American revue's golden age.

Revues took advantage of their high revenue stream to lure away performers from other media, often offering exorbitant weekly salaries without the unremitting travel demanded by other entertainments. Performers such as Eddie Cantor, Anna Held, W. C. Fields, Bert Williams, The Marx Brothers and the Fairbanks Twins found great success on the revue stage. One of Cole Porter's early shows was Raymond Hitchcock's revue Hitchy-Koo (1919). Composers or lyricists such as Richard Rodgers, Lorenz Hart, Irving Berlin, and George M. Cohan also enjoyed a tremendous reception on the part of audiences. Sometimes, an appearance in a revue provided a key early entry into entertainment. Largely due to their centralization in New York City and adroit use of publicity, revues proved particularly adept at introducing new talents to the American theatre. Rodgers and Hart, one of the great composer/lyricist teams of the American musical theatre, followed up their early Columbia University student revues with the successful Garrick Gaieties (1925). Comedian Fanny Brice, following a brief period in burlesque and amateur variety, bowed to revue audiences in Ziegfeld's Follies of 1910. Specialist writers and composers of revues have included Sandy Wilson, Noël Coward, John Stromberg, George Gershwin, Earl Carroll, and the British team, Flanders and Swann.

Film revues[link]

With the introduction of talking pictures, in 1927, studios immediately began filming acts from the stage. Such film shorts gradually replaced the live entertainment that had often accompanied cinema exhibition. By 1928, studios began planning to film feature length versions of popular musicals and revues from the stage. The lavish films, noted by many for a sustained opulence unrivaled in Hollywood until the 1950s epics, reached a breadth of audience never found by the stage revue, all while significantly underpricing the now-faltering theatrical shows. A number of revues were released by the studios, many of which were filmed entirely (or partly) in color. The most notable examples of these are: The Show of Shows (Warner Brothers, 1929), The Hollywood Revue of 1929 (Metro-Goldwyn-Mayer, 1929), Fox Movietone Follies of 1929 (Fox Film Corporation, 1929), Paramount on Parade (Paramount, 1930), New Movietone Follies of 1930 (Fox, 1930) and King of Jazz (Universal, 1930). Even Britain jumped on the bandwagon and produced expensive revues such as Harmony Heaven (British International Pictures, 1929), Elstree Calling (BIP, 1930) and The Musical Revue Of 1959 (BIP,1960)

Contemporary revues[link]

Revues are often common today as student entertainment (such as The University of Canterbury Law Revue, University of Otago Capping Show, Cambridge Footlights, Durham Revue, The Leeds Tealights, The Oxford Revue, St George's Medics Revue, Sheffield Medics Revue, The Edinburgh Revue, Bristol Revunions, The Wrekin Revue, Medleys, University of Sydney Revues, The Australian National University Law and Arts Revues, University of New South Wales Revues, The Ashbourne College Revue, Rave Revue and the University of Queensland Law and Med Revues). These use pastiche, in which contemporary songs are re-written in order to comment on the college or courses in a humorous nature. While most comic songs will only be heard within the revue they were written for, sometimes they become more widely known, such as A Transport of Delight about the big red London bus by Flanders and Swann, who first made their name in a revue titled At the Drop of a Hat.

The Rolling Thunder Revue was a famed U.S. concert tour in the mid-1970s consisting of a traveling caravan of musicians, headed by Bob Dylan, that took place in late 1975 and early 1976.

Towards the end of the 20th century, a sub-genre of revue largely dispensed with the sketches, founding narrative structure within a song cycle in which the material is culled from varied works. This type of revue may or may not have identifiable characters and a rudimentary story line but, even when it does, the songs remain the focus of the show (for example, Closer Than Ever by Richard Maltby, Jr. and David Shire). This type of revue usually showcases songs written by a particular composer or songs made famous by a particular performer. Examples of the former are Side By Side By Sondheim (music/lyrics Stephen Sondheim), Eubie! (Eubie Blake) Tom Foolery (Tom Lehrer), and Five Guys Named Moe (songs made popular by Louis Jordan). The eponymous nature of these later revues suggest a continued embrace of a unifying authorial presence in this seemingly scattershot genre, much as was earlier the case with Ziegfeld, Carrol, et al.

Medics' revues[link]

It is a current and fairly longstanding tradition of Medical, Dental and Veterinary schools within the UK and Australia to put on revues each year, combining comedy sketches, songs, parodies, films and sound-bites.

Each year, the revue casts of each of the 5 medical schools of the United Hospitals compete in the competition known as the UH Revue in an attempt to win The Moira Stuart Cup. It has been won by all medical schools except Barts, with St George's knocking up the most victories, winning the trophy 5 times. As well as performing at their respective universities, shows will often be performed at the Edinburgh Festival Fringe.^[2][3] The Cambridge Medics Revue, St George's Medics Revue, and Birmingham Medics Revues all performed at the 2008 Fringe Festival. The BSMS Medic Revue has performed sell out shows in the Brighton Fringe Festival since 2008. The Cambridge clinical school also now run a competing revue to the undergraduates, called variably Revue and Integration or Revue and Imitation.

See also[link]

Wayne Lamb
Capping Show

References[link]

This article includes a list of references, related reading or external links, but its sources remain unclear because it lacks inline citations. Please improve this article by introducing more precise citations. (September 2009)

Footnotes[link]

Bibliography[link]

• Davis, Lee (2000). Scandals and Follies: The Rise and Fall of the Great Broadway Revue. Proscenium Publishers Inc., New York. ISBN 0-87910-274-8. 

External links[link]

Look up revue in Wiktionary, the free dictionary.

• Harlem Revue is available for free download at the Internet Archive [more]
• "Revue". Theatre & Performance. Victoria and Albert Museum. http://www.vam.ac.uk/collections/theatre_performance/features/history_of_musicals/revue/early_revue/index.html. Retrieved 2011-03-24. 

Carly Rae Jepsen
Jepsen performing on Canada Day in 2010
Background information
Born	(1985-11-21) November 21, 1985 (age 26) Mission, British Columbia, Canada
Genres	Pop, pop rock
Occupations	Singer-songwriter
Years active	2007–present
Labels	604 (2008–present) Schoolboy/Interscope (2012–present)
Website	carlyraemusic.com

Carly Rae Jepsen (born November 21, 1985) is a Canadian recording artist and singer-songwriter from Mission, British Columbia. In 2007, she placed third in the fifth season of Canadian Idol, and was a part of the Canadian Idol Top 3 concert tour.^[1]

Shortly after competing on Idol, she signed to Fontana and MapleMusic, and released her debut album, Tug of War, on September 30, 2008. Three years later, she released a new single, entitled "Call Me Maybe", which was released by 604 Records, and was followed by the release of her debut extended play, Curiosity, on February 14, 2012. "Call Me Maybe" was met with much success, reaching the Top 5 on the Billboard Hot 100 and reaching the number 1 spot on the Canadian Hot 100. The single also went to number 1 in Australia, Ireland and the United Kingdom. Jepsen signed with Interscope Records in 2012.

Life and career[link]

Jepsen attended Heritage Park Secondary School in Mission, British Columbia and has since performed there post-graduation. She later attended the Canadian College of Performing Arts in Victoria, BC before auditioning for Canadian Idol. After completing the Canadian Idol tour, Jepsen retreated to B.C. to focus on writing, recording and completing her band. Her demos attracted attention and she was eventually signed a joint management deal with Simkin Artist Management and Dexter Entertainment. A deal with Fontana/Maple Music quickly followed, leading Jepsen into the studio with producer/writer Ryan Stewart.^[2]

[edit] 2008–11: Tug of War

On June 16, 2008, Jepsen released her debut single and another single, a cover of John Denver's song "Sunshine On My Shoulders". It is the only cover song on her debut album.^[3] On July 21, 2008, Jepsen added two new songs from the album to her MySpace page: "Bucket" and "Heavy Lifting". In August 2008, Jepsen's MySpace page announced that the album's title would be Tug of War, and it was released on September 30, 2008. The page also mentioned two more songs that were included on the album: "Tug of War" and "Sweet Talker". The former was released as a single on iTunes on September 16, 2008, and has been receiving radio airplay on various stations across Canada. She performed the latter as her Canadian Idol audition.^[4]
A music video for "Tug of War" was released in January 2009. "Bucket", her second single, was released in May 2009, and the video for "Sour Candy", a duet with Josh Ramsay of Marianas Trench who has also help produce some of her songs including Call Me Maybe, has also been released. All of Jepsen's music videos have been directed by Ben Knechtel. In spring 2009, she toured western Canada with Marianas Trench and Shiloh.^[5] She then went on a cross-Canada tour with Marianas Trench, The New Cities and Mission District.

[edit] 2012–present: Curiosity

Jepsen's second album Curiosity was released on February 14, 2012. It was produced by Ryan Stewart and Kevin James Maher produced the track "Dear Julien". On the same day as the release, Justin Bieber made the announcement on the MuchMusic program New Music Live that Jepsen has been signed to Schoolboy Records, the label run by Justin Bieber's manager, Scooter Braun.^[6] The lead single, "Call Me Maybe" (which gained notoriety after "Primetime" Sam Roberts played the track during "After Opie and Anthony Live" on SiriusXM Satellite Radio) is from her second studio album Curiosity was released on September 21, 2011 and was produced by Josh Ramsay of Marianas Trench and co-written by Jepsen, Ramsay and Tavish Crowe. "Call Me Maybe" is the first song by a Canadian artist to reach the top of the digital chart since Justin Bieber's “Baby” in January 2010. It is also only the 11th song by a Canadian artist to reach No. 1 on the Digital Songs chart since Nielsen SoundScan began tracking digital download sales in 2005. The song has also peaked at #1 on Billboard's Canadian Hot 100, being the 4th Canadian artist to do so, after Avril Lavigne's "Girlfriend", Nikki Yanofsky's "I Believe", and the Young Artists for Haiti version of "Wavin' Flag", originally by Canadian rapper K'naan.^[7] Jepsen is currently touring on the Shout it Out World Tour. She is the opening act for the pop-rock trio Hanson. In February 2012, Jepsen visited Justin Bieber and Scooter Braun in Los Angeles, California, where she subsequently signed to Schoolboy Records and Interscope. Her music will still be distributed by 604 Records in Canada. On March 23, 2012, Jepsen made her first American television debut on The Ellen DeGeneres Show, performing "Call Me Maybe" (with Jared Manierka on keys), later joined by Justin Bieber. Carly was also the first Canadian Idol contestant to enter the UK charts, when Call Me Maybe debuted at #1. Carly played at Citywalk at Universal Studios on April 14 2012. 400 people who paid $5 were allowed to meet with the singer and get CDs autographed by her.

Jepsen, 26, has been criticized in the press for dressing "too young" for her age in an effort to appeal to the pre-teen demographic.^[8][9]

On May 20th, 2012 Jepsen performed "Call Me Maybe" at the 2012 Billboard Music Awards. On May 22th, 2012 she performed "Tug of War", "Curiosity", and "Call Me Maybe" at the first Q102 Springle Ball concert.

[edit] Canadian Idol performances

Discography[link]

Studio albums[link]

• Tug of War (2008)

Extended plays[link]

• Curiosity (2012)

Tours[link]

Opening act

• Justin Bieber – Believe Tour (North American dates) (2012)

Filmography[link]

Awards and nominations[link]

References[link]

External links[link]

• Official website
• Carly Rae Jepsen on Twitter
• Carly Rae Jepsen on Myspace
• "Primetime" Sam Roberts