Question:
A daughter of Charles and Anais Lenglen, Suzanne Lenglen was born in Paris. During her youth, she suffered from numerous health problems including chronic asthma, which also plagued her at a later age. Because his daughter was so frail and sickly, Charles Lenglen, the owner of a carriage company, decided that it would be good for her to compete in tennis and gain strength. Her first try at the game was in 1910, when she played on the tennis court at the family property in Marest-sur-Matz.
The first major female tennis star to turn professional, Lenglen was paid US$50,000 by American entrepreneur Charles C. Pyle to tour the United States in a series of matches against Mary K. Browne. Browne, winner of the US Championships from 1912 to 1914, was 35 and considered to be past her prime, although she had reached the French final earlier that year (losing to Lenglen 6-1, 6-0). For the first time in tennis history, the women's match was the headline event of the tour (which also featured male players). In their first match in New York City, Lenglen put on a performance that New York Times writer Allison Danzig lauded as "one of the most masterly exhibitions of court generalship that has been seen in this country." When the tour ended in February 1927, Lenglen had defeated Browne, 38 matches to 0. She was exhausted from the lengthy tour, and a physician advised Lenglen that she needed a lengthy period away from the game to recover. Instead, Lenglen chose to retire from competitive tennis to run a Paris tennis school, which she set up with the help and money of her lover Jean Tillier. The school, located next to the courts of Roland Garros, slowly expanded and was recognised as a federal training centre by the French tennis federation in 1936. During this period, Lenglen also wrote several books on tennis. Lenglen was criticised widely for her decision to turn professional, and the All England Club at Wimbledon even revoked her honorary membership. Lenglen, however, described her decision as "an escape from bondage and slavery" and said in the tour programme, "In the twelve years I have been champion I have earned literally millions of francs for tennis and have paid thousands of francs in entrance fees to be allowed to do so.... I have worked as hard at my career as any man or woman has worked at any career. And in my whole lifetime I have not earned $5,000 - not one cent of that by my specialty, my life study - tennis.... I am twenty-seven and not wealthy - should I embark on any other career and leave the one for which I have what people call genius? Or should I smile at the prospect of actual poverty and continue to earn a fortune - for whom?" As for the amateur tennis system, Lenglen said, "Under these absurd and antiquated amateur rulings, only a wealthy person can compete, and the fact of the matter is that only wealthy people do compete. Is that fair? Does it advance the sport? Does it make tennis more popular - or does it tend to suppress and hinder an enormous amount of tennis talent lying dormant in the bodies of young men and women whose names are not in the social register?"
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How did her professional career begin?

Answer:
The first major female tennis star to turn professional, Lenglen was paid US$50,000 by American entrepreneur Charles C. Pyle to tour the United States

Question:
A burlesque is a literary, dramatic or musical work intended to cause laughter by caricaturing the manner or spirit of serious works, or by ludicrous treatment of their subjects. The word derives from the Italian burlesco, which, in turn, is derived from the Italian burla - a joke, ridicule or mockery. Burlesque overlaps in meaning with caricature, parody and travesty, and, in its theatrical sense, with extravaganza, as presented during the Victorian era. "Burlesque" has been used in English in this literary and theatrical sense since the late 17th century.
Victorian burlesque, sometimes known as "travesty" or "extravaganza", was popular in London theatres between the 1830s and the 1890s. It took the form of musical theatre parody in which a well-known opera, play or ballet was adapted into a broad comic play, usually a musical play, often risque in style, mocking the theatrical and musical conventions and styles of the original work, and quoting or pastiching text or music from the original work. The comedy often stemmed from the incongruity and absurdity of the classical subjects, with realistic historical dress and settings, being juxtaposed with the modern activities portrayed by the actors. Madame Vestris produced burlesques at the Olympic Theatre beginning in 1831 with Olympic Revels by J. R. Planche. Other authors of burlesques included H. J. Byron, G. R. Sims, F. C. Burnand, W. S. Gilbert and Fred Leslie. Victorian burlesque related to and in part derived from traditional English pantomime "with the addition of gags and 'turns'." In the early burlesques, following the example of ballad opera, the words of the songs were written to popular music; later burlesques mixed the music of opera, operetta, music hall and revue, and some of the more ambitious shows had original music composed for them. This English style of burlesque was successfully introduced to New York in the 1840s. Some of the most frequent subjects for burlesque were the plays of Shakespeare and grand opera. The dialogue was generally written in rhyming couplets, liberally peppered with bad puns. A typical example from a burlesque of Macbeth: Macbeth and Banquo enter under an umbrella, and the witches greet them with "Hail! hail! hail!" Macbeth asks Banquo, "What mean these salutations, noble thane?" and is told, "These showers of 'Hail' anticipate your 'reign'". A staple of burlesque was the display of attractive women in travesty roles, dressed in tights to show off their legs, but the plays themselves were seldom more than modestly risque. Burlesque became the speciality of certain London theatres, including the Gaiety and Royal Strand Theatre from the 1860s to the early 1890s. Until the 1870s, burlesques were often one-act pieces running less than an hour and using pastiches and parodies of popular songs, opera arias and other music that the audience would readily recognize. The house stars included Nellie Farren, John D'Auban, Edward Terry and Fred Leslie. From about 1880, Victorian burlesques grew longer, until they were a whole evening's entertainment rather than part of a double- or triple-bill. In the early 1890s, these burlesques went out of fashion in London, and the focus of the Gaiety and other burlesque theatres changed to the new more wholesome but less literary genre of Edwardian musical comedy.
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Were there any other famous ones?

Answer:
The house stars included Nellie Farren, John D'Auban, Edward Terry and Fred Leslie. From about 1880, Victorian burlesques grew longer, until they were a whole evening's entertainment rather