The Yellow Kid on the Paper Stage
Introduction Origins of the Kid Class Warfare on the Urban Stage Race and Ethnicity Selling the Kid The Death of the Kid
The vaudeville audience at Proctor's Pleasure Palace, late 1890s
Tony Pastor and his traveling company
"Amateur Circus: The Smallest Show on Earth."
"The Opening of the Hogan's Alley Roof Garden."
"De Yaller Kid's Mother Goose Vaudeville Co, Ltd."
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Class Warfare on the Urban Stage

CLEANING UP THEATER

Rather than appeal solely to the working class, vaudeville attempted to unite audiences familiar with variety and melodrama with audiences more acquainted with a quiet audience suitable for a lady. Cheap theaters in the Bowery district, minstrel shows (the Virginia Minstrels were a smash hit in 18431), variety shows (emerging in the late 1850s, they might include Broadway singers, dancers, comedians, circus performers, and a burlesque on a popular or classic play2), and dime museums offered alternative entertainment to those pushed out of upper-class venues. Reformers denounced concert saloons and theaters throughout Manhattan in 1880s into 1890.3 "But vaudeville, as turn-of-the-century Americans understood it, was variety theatre that entrepreneurs made tasteful for middle-class women and men and their families by removing the smoky, boozy, licentious male atmosphere." 4 Vaudeville entrepreneur Tony Pastor established such a venue on 14th Street in 1881.5 In 1893 B.F. Keith and Edward F. Albee opened a theater in New York's Union Square; their employees carried cards asking audience members to not talk and not to stamp their feet or pound their canes on the floor.6 By 1894, the theater was popular with shoppers, and was therefore clean enough to host women and children. 7 But vaudeville was also entertaining enough for the poor: New York machine politician Tim Sullivan in 1893 began the tradition of feeding as many as 5,000 needy people a free Christmas dinner, where local vaudeville singers and musicians entertained the diners. 8

Vaudeville kid troupeIf vaudeville's attempt to unite audiences recall the Yellow Kid, the content of some skits also appear relevant. Featured child acts—real-life Yellow Kids—faced condemnation by moral reformers by the late-nineteenth century. Elbridge T. Gerry, who founded the Society for the Prevention of Cruelty to Children in 1875, said child actors were lured into vaudeville deals: "Gathered into troupes, the children are then drilled into a so-called musical performance of some light opera, or in some silly little song and dance; they are taught the gestures, walk, and action of the minor business of the stage, or are required to learn the libretto of the opera by heart, and are instructed how to render it for the approval of the audience."9 Buster Keaton, who was in vaudeville as a child star beginning in about 1895 noted his father's anger at the Gerry Society:

"What most burned up Pop was that there were then thousands of homeless and hungry abandoned children of my age wandering around the streets of New York, selling newspapers, shining shoes, playing the fiddle on the Hudson River ferryboats, and thousands of other small children working with their parents in the tenement sweatshops on the Lower East Side. Pop couldn't understand why the S.P.C.C. people didn't devote all of their time, energy, and money to helping them."10

Victorian tensions over what was appropriate for children fed into the controversy over the Yellow Kid as well. Keaton, his act also that of a mischievous boy, was a desired commodity by the public and managers: "The reason managers approved of my being featured was because I was unique, being at that time the only little hell-raising Huck Finn type boy in vaudeville."11

The consistent appearance of entertainment venues points to the influence of vaudeville and its entertainment predecessors on the formation of the Yellow Kid's character. "Amateur Circus: The Smallest Show on Earth" (New York World, April 26, 1896)—the second appearance of a "circus" in the series, shows Outcault's focus on the pleasures of entertainment, as does "The Residents of Hogan's Alley Visit Coney Island" (May 24, 1896), where we see a prominent reference to vaudeville: Willie Polk's Seaside Museum & Vaudeville Specialty Company is emblazoned across an entranceway filled with children. We see a variety show of sorts in "The Opening of the Hogan's Alley Roof Garden" as well (New York World, July 26, 1896). Yellow Kid historian Bill Blackbeard writes: "Roof gardens, open-air places of amusement that offered dinging and dancing to those that could afford them, first opened atop hotels and other commercial buildings in the 1880s. The 1890s marked the peak of their popularity when the most fashionable and successful, like that above Madison Square Garden, attracted well-heeled crowds with shows featuring vaudeville entertainers."12 Despite the luxurious setting here, vaudeville offered a nexus where lower and upper class worlds could meet.

The Riccadonna Sisters.
The Riccadonna Sisters.
But was Outcault facing the same pressure to tone down his cartoons that affected theater entertainment? The Riccadonna girls, who appear to be inspired by burlesque or vaudeville dancers, appear more demure in "The Studio Party in McFadden's Flats" (New York Journal, January 3, 1897); perhaps this shows editors' pressure on Outcault to sanitize his work tp appeal to a broad audience, as entertainment entrepreneurs felt the need to sanitize vaudeville. In a January 10, 1897 Journal feature of "De Yaller Kid's Mother Goose Vaudeville Co. L't'd," readers see a stage within a stage, but are also privy to the orchestra, placing viewers most clearly in the role of audience member. A basket of eggs bears the sign warning the audience: "Dese Eggs is fer theatrical use," perhaps mocking the rigid rules regarding audience behavior, while showing the temptations still present in the setting. In the upper boxes, traditionally the better seating, a sign reads, "Dese Boxes is reserved fer people wot asks fer free passes. Drinks will be served free." Perhaps Outcault is pointing out the perks of the rich in an establishment that wants to be accepted by them—or fantasizing about putting the poor in the upper-class seating. "The Amateur Dime Museum in Hogan's Alley" (World, October 4, 1896), puts the kids in a typical spot—on the outside looking in at the entertainment. In most Yellow Kid comics, readers are in the same position. A sign shows the museum is also a vaudeville show; admission is only 1 cent, so it is likely they will go in; because the reader never sees the interior here or in the Coney Island cartoon, perhaps this reflects its growing identification with lower-class pleasures.
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1 Stott, Richard B. Workers in the Metropolis: Class, Ethnicity, and Youth in Antebellum New York City. Ithaca, N.Y.: Cornell University Press, 1990. 26.

1 Stott 227.

3 Snyder, Robert W. The Voice of the City: Vaudeville and Popular Culture in New York. New York/Oxford: Oxford University Press, 1989. 25.

1 Snyder 12.

1 Snyder 21.

1 DiMeglio, John E. Vaudeville U.S.A. Bowling Green, Ohio: Bowling Green University Popular Press, 1973. The first 20 years of the 20th century saw groups such as the United Irish Societies of New York put pressure on theater managers to get rid of ethnic jokes (44). "Holy gee" was one of the banned phrases in Keith houses in 1914 (50).

1 Snyder 26.

1 Mohl, Raymond A. The Making of Urban America. Wilmington: SR Books (1997, 2d ed.). 135.

1 Gerry, Elbridge T. "Children of the Stage." American Vaudeville As Seen By Its Contemporaries. Ed. by Charles W. Stein. New York: Alfred A. Knopf, 1984. 138.

1 Keaton, Buster, and Elsie Janis, "Buster Keaton and Elsie Janis Clash with the Gerry Society." American Vaudeville As Seen By Its Contemporaries. Ed. by Charles W. Stein. New York: Alfred A. Knopf, 1984. 148.

1 Keaton 146.

1 Blackbeard, Bill. Introduction. R. F. Outcault's The Yellow Kid: A Centennial Celebration of the Kid Who Started the Comics. Northampton, MA: Kitchen Sink Press, 1995. 47.