The depiction of female sexuality in Victorian burlesque was an example of the connection between women as performers and women as sexual objects in Victorian culture.Buszek, Maria-Elena. "Representing 'Awarishness': Burlesque, Feminist Transgression, and the 19th-Century Pin-up", The Drama Review, 1999, vol. 43, issue 4, pp. 141–162, accessed 4 March 2012 Throughout the history of theatre the participation of women on stage has been questioned. Victorian culture, according to Buszek in 2012, viewed paid female performance as being closely associated with prostitution, “ a profession in which most women in the theatre dabbled, if not took on as a primary source of income .” Beginning in the 1880s, when comedian-writer Fred Leslie joined the Gaiety, composers like Meyer Lutz and Osmond Carr contributed original music to the burlesques, which were extended to a full-length two- or three-act format."Theatrical Humour in the Seventies", The Times, 20 February 1914, p. 9 These later Gaiety burlesques starred Farren and Leslie. They often included Leslie's libretti, written under his pseudonym, "A. C. Torr",Stewart, Maurice. 'The spark that lit the bonfire', in Gilbert and Sullivan News (London) Spring 2003. and were usually given an original score by Lutz: Little Jack Sheppard (1885), Monte Cristo Jr. (1886), Pretty Esmeralda (1887), Frankenstein, or The Vampire's Victim (1887),Hollingshead, pp. 14 and 55 Mazeppa and Faust up to Date (1888). Ruy Blas and the Blasé Roué (1889) made fun of the play Ruy Blas by Victor Hugo.Hollingshead, pp. 57–58 The title was a pun, and the worse the pun, the more Victorian audiences were amused.Gray, Donald J., "The Uses of Victorian Laughter", Victorian Studies, Vol. 10, No. 2 (December 1966), pp. 145–76, Indiana University Press, accessed 2 February 2011 The last Gaiety burlesques were Carmen up to Data (1890),Adams, pp. 254–55 Cinder Ellen up too Late (1891), and Don Juan (1892, with lyrics by Adrian Ross).Hollingshead, pp. 63–64Arthur Lloyd Music Hall site (on Gaiety) Cuttings accessed 01 Mar 2007
The depiction of female sexuality in Victorian burlesque was an example of the connection between women as performers and women as sexual objects in Victorian culture.Buszek, Maria-Elena. "Representing 'Awarishness': Burlesque, Feminist Transgression, and the 19th-Century Pin-up", The Drama Review, 1999, vol. 43, issue 4, pp. 141–162, accessed 4 March 2012 Throughout the history of theatre the participation of women on stage has been questioned. Victorian culture, according to Buszek in 2012, viewed paid female performance as being closely associated with prostitution, " a profession in which most women in the theatre dabbled, if not took on as a primary source of income ". Beginning in the 1880s, when comedian-writer Fred Leslie joined the Gaiety, composers like Meyer Lutz and Osmond Carr contributed original music to the burlesques, which were extended to a full-length two- or three-act format."Theatrical Humour in the Seventies", The Times, 20 February 1914, p. 9 These later Gaiety burlesques starred Farren and Leslie. They often included Leslie's libretti, written under his pseudonym, "A. C. Torr",Stewart, Maurice. 'The spark that lit the bonfire', in Gilbert and Sullivan News (London) Spring 2003. and were usually given an original score by Lutz: Little Jack Sheppard (1885), Monte Cristo Jr. (1886), Pretty Esmeralda (1887), Frankenstein, or The Vampire's Victim (1887),Hollingshead, pp. 14 and 55 Mazeppa and Faust up to Date (1888). Ruy Blas and the Blasé Roué (1889) made fun of the play Ruy Blas by Victor Hugo.Hollingshead, pp. 57–58 The title was a pun, and the worse the pun, the more Victorian audiences were amused.Gray, Donald J., "The Uses of Victorian Laughter", Victorian Studies, Vol. 10, No. 2 (December 1966), pp. 145–76, Indiana University Press, accessed 2 February 2011 The last Gaiety burlesques were Carmen up to Data (1890),Adams, pp. 254–55 Cinder Ellen up too Late (1891), and Don Juan (1892, with lyrics by Adrian Ross).Hollingshead, pp. 63–64Arthur Lloyd Music Hall site (on Gaiety) Cuttings accessed 1 Mar 2007
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