Ziegfeld Follies

Ziegfeld Follies. The greatest and longest‐lived series of extravagant revues, the first edition was mounted by Florenz Ziegfeld on a shoestring budget as the Follies of 1907. (The producer did not add his name to the series until 1911.) Annual editions were produced through 1925, with versions also in 1927 and 1931. From 1922 on the revues were advertised as “Glorifying the American Girl,” which was truth in advertising. Writing during the series' heyday, George Jean Nathan observed, “Out of the vulgar leg‐show, Ziegfeld has fashioned a thing of grace and beauty, of loveliness and charm; he knows quality and mood. He has lifted, with sensitive skill, a thing that was mere food for smirking baldheads and downy college boys out of its low estate and into a thing of symmetry and bloom.” After his death the Shuberts bought the rights to the name and produced editions in 1934, 1936, and 1943. These editions were successful even though it was conceded they lacked the tasteful, imaginative opulence of Ziegfeld's own mountings. A 1957 edition was a quick, dismal failure. Among the great stars presented in the Follies, many of whom Ziegfeld discovered and developed, were Nora Bayes, Fanny Brice, Eddie Cantor, Ray Dooley, Leon Errol, W. C. Fields, Marilyn Miller, Ann Pennington, Will Rogers, and Bert Williams. Song hits from the shows include “Shine On Harvest Moon,” “By the Light of the Silvery Moon,” “Row, Row, Row,” “Hello, Frisco,” “A Pretty Girl Is Like a Melody,” “My Man,” “Second Hand Rose,” “Mr. Gallagher and Mr. Shean,” and “Shaking the Blues Away.” From the first the productions were known for their eye‐filling costumes and sets, but not until Joseph Urban was signed on, beginning with the 1915 edition, did the series reach its legendary apotheosis. His stylish designs and carefully coordinated colors were instantly recognized as the finest work the American musical stage had yet seen. Settings often depicted exotic, color‐rich lands, and musical numbers were regularly given themes. Thus, in “A Pretty Girl Is Like a Melody” mannequins paraded dressed as “Barcarolle,” “Elegy,” and other classic styles. From 1917 through 1925 Ben Ali Haggin's lavish tableaux vivants were also a feature. Among the many great Ziegfeld beauties were Marion Davies, Paulette Goddard, Lillian Lorraine, Mae Murray, Drucilla Strain, and Avonne Taylor.