Variety grew from the Victorian and Edwardian tradition of "Music Hall", and was firmly established after the 1914-18 war. Similar in principle to American Vaudeville, a number of acts, with no relationship with each other, would perform their "number" on a Variety "bill", five or six either side of the intermission, during which the house orchestra would play a selection of melodies.

The running order, or bill, was most important. To be the last act of the evening,
"top of the bill", was the ultimate, especially in one of the big Variety venues such as the Palladium or Victoria Palace in London. Second-best was just before intermission, while those starting out in the business, or with less talent, would open either half of the entertainment.

The range of acts on offer was huge, ranging from singers, dancers, magicians and comedians to "speciality acts" (such as cyclists, animal trainers, balloon sculptors and many that defy description). Each act had a "tag line", which would always appear in the programme, and under their name on the poster which advertised the show. Julie Andrews' management changed hers as her popularity waxed and waned during the 40's and 50's:

1948: "The 13 year old Singing Star"
1949: "Melody of Youth"
1951: "The Phenomenal Singing Star"
1952: "Britain's Youngest Singing Star"
1953: "Britain's Youngest Prima Donna"

Each act toured the UK independently. Therefore the bill would be different each time Julie Andrews performed. Sometimes she might meet a performer she had worked with previously, but more often than not she would have shared the bill with a different set of acts each week - an amazing chance to watch and learn the business. There were usually two shows nightly, from Monday to Saturday. Sunday would be travelling day, with a run-through at the next venue on Monday afternoon. When accompanied by Barbara on the piano rehearsals would have been easy, but if using the house orchestra then it would have been important to ensure that they play at the correct pitch and tempi during Julie's numbers.

Variety started to lose popularity as more and more people bought a television. TV shows such as "Sunday Night at the London Palladium" were essentially filmed Variety shows, and the public were less keen to travel to their local theatre to see acts live. Variety still lingers on though, in the seaside resorts, where the "summer show" retains much the same form, but by the early 60's Variety was hardly ever seen in British provincial theatres.

The Royal Variety Performance is an exception. Originally called the "Royal Command Performance", (as the early ones in the 1920's were literally commanded by the King), it is an annual event in the Autumn of every year. An evening of Variety in the traditional sense, the show is performed in front of a leading member of the Royal household, and profits are given to charity. Julie Andrews was invited to appear three times, in 1948, 1958 and 1977. Unlike traditional variety shows, the event now has a leaning towards selections of current West End shows, performances by rock stars and even scenes from TV sitcoms.

Essentially very similar to variety, Revue consisted of an evening of songs and sketches, each an independent number in its own right, although there may sometimes have been a linking theme. However, unlike Variety, the show had a cast which travelled around the country as a group, and each performer would take part in more than one number. As in Variety, the line-up would consist of a few singers, dancers, a comic and maybe a speciality act, but the singers would often be expected to act in a sketch or two, and everyone would join in the finale. Usually performed twice nightly, a Revue might tour the UK for two or three months. The form started in around 1920 and lasted into the early 60's, the most famous late example being "Beyond the Fringe". In recent years there have been attempts to recreate the form, without much success.

Julie Andrews appeared in three Revues:
In "Starlight Roof" (1947/8), she was a "surprise" performer (as discussed elsewhere in the site) and did not appear in any number other than her own spot, but "Cap & Belles" (1952) and "Look In" (1953) were more typical.

The most complex of entertainments to describe, and the most confusing for those who have never seen one live (television Pantos are never quite the same !).

Nothing whatever to do with "mime", the art form grew from the 19th Century Italian "comedia del arte", though by the 1940's had developed into something so far removed from the traditional Harlequinade as to be unrecognisable.

Essentially a Christmas entertainment, usually opening just prior to Xmas day, and running into early March, Panto is usually based on a traditional fairy tale or nursery rhyme. Although aimed at children, in its modern form there are usually plenty of political references or innuendo for the adults to enjoy too. ("Ten long miles and still no sign of Dick").

The tale is interspersed with songs and dances, and often involves the characters in bits of business from their regular Variety acts. Today the stars are often TV personalities, and they too will always get a chance to step out of character to do their turn. However, whether it is Aladdin or Humpty Dumpty, there are certain key elements which are usually present.

Drag:
The "Principal Boy" is usually played by a young woman in tights. This makes her love scenes with the "Principal Girl" rather interesting ! "The Dame" is an older woman played by a man wearing a succession of outrageous costumes. In Cinderella we get two - the ugly sisters.

Slapstick:
There is usually an excuse for some good old-fashioned messy humour, involving custard pies in the face or slipping and sliding on wallpaper paste.

The Songsheet:
In the middle of the second half, the action stops, and the words of a song are dropped from the flies. The house lights are raised, and the whole audience joins those on stage in singing the song. Some children are brought up on stage, to perform solo, and are rewarded with bags of sweets, while yet more candy is thrown into the audience.

Audience Participation:
The kids are not expected to sit mute. There is much hissing and booing of the villain, and shouts of "It's behind you" as the ghost (or whatever) sneaks up on our hero.

The Transformation:
An elaborate instant change of scenery and/or costume - the classic example being the changing of Cinderella's pumpkin into her carriage and horses.

A Happy Ending:
Of course !

Julie appeared in five stage Pantos, starting as an egg in "Humpty Dumpty" (1948/49), then moving into Principal Girl roles for "Red Riding Hood" (1950/51), "Aladdin" (1951/2), "Jack and the Beanstalk" (1952/3) and "Cinderella" (1953/4).

You can find out everything you want to know about Pantomime at It's Behind You !