As music hall became more popular, the performers’ contracts
became much stricter. Contracts often stated that artists were
not allowed to appear in any other theatre directly before or
after a performance, nor could they perform in another theatre
within a certain distance. This prevented artists appearing
at more than one venue in an evening and limited the amount
of money that they could earn on one night.
The Music Hall War
The Music Hall War
Matinee Performances
Most contracts included one matinee performance. Some unscrupulous
managers announced additional matinees without any additional
payments to the artists – one manager even announced four
extra performances in one week. In 1907 things came to a crisis
and on 22nd January at the Holborn Empire, artists, musicians
and stagehands went on strike. Strikes in other London and suburban
halls followed, organised by the
Variety Artistes' Federation, which had been formed in 1906.
Use the links below to listen to the demands made by the performers
in the music hall strike.
Artists picketed the halls, distributing leaflets declaring
‘Music Hall War!’ and demanding more payment for extra performances.
The angry managers tried to keep the music halls open by booking
little known acts or bringing performers out of retirement.
But even well paid stars such as Marie
Lloyd refused to perform, declaring their solidarity with
the striking performers. On one occasion Marie Lloyd sent a
telegram to the Tivoli theatre declaring that she was tied up
sewing a few flounces on her dress so she wouldn’t be able to
perform that evening. Eventually the managements were forced
to give in and additional payments for matinee performances
were introduced.
Organisation formed in 1906 to protect the interests of performers against theatre managers and imported acts. It has since merged with the trade union, British Actors' Equity.
The Origins of Music Halls
