Before the advent of vaudeville, American theatergoers could choose from a variety of entertainment options. Circuses toured the country, featuring jugglers and acrobats. Amusement parks such as Coney Island in New York and local town halls hosted family-friendly acts. Customers seeking something bawdier would go to burlesque houses and saloons. Traveling medicine salesmen would use entertainers to sell their wares. Wild West shows included riding tricks and music.
Societal changes paved the way for vaudeville. The Industrial Revolution was an important engine for these changes. Technological advancements meant everyday tasks were easier, and people had more leisure time. The middle class grew, as did its spending power. Urban centers grew as people moved away from rural areas. Also, an influx of immigrants began arriving in the late 19th century. This diverse population demanded inexpensive, accessible entertainment.
Vaudeville theater's premise was entertainment that everyone could enjoy. Tony Pastor, a former circus ringmaster, began providing family-friendly variety shows at his New York City theaters in the early 1880s. Around the same time, Benjamin Keith opened a theater in Boston which would only show clean acts around the clock. Singers, dancers, jugglers and others had to maintain strict moral standards. Other producers saw how successful this formula was. By the 1890s, vaudeville theater chains crisscrossed the country.
"Vaudeville" is a French word, although its exact origin is somewhat muddled. Variety performer M.B. Leavitt claimed the word was derived from "vaux de ville," meaning "worthy of the city." Some historians claim the word came from two other French phrases: "Val de Vire" (the Vire River Valley) and "voix de ville" (voice of the people). Supposedly, Vire River Valley residents used to entertain themselves by singing. The French phrase provided respectability and gentility to the theater.
Vaudeville theater producers built opulent palaces to house their shows. These theaters were reminiscent of Italian villas. Architecture was ornate both inside and out. Producers outfitted their theaters in marble, stained glass and wrought iron. These palaces conveyed a sense of refinement and sophistication. However, they were also educational institutions. Ushers ensured that audiences maintained a sense of decorum and civility. No smoking, stomping or swearing was allowed. Producers wanted to maintain high moral standards on stage and off.
The era of Vaudeville Theater came to an end in the late 1920s. Vaudeville could not adapt to changing audience tastes. Producers such as Benjamin Keith continued to make productions more lavish, but not funnier. Audiences no longer wanted to pay more for live entertainment when they could see a cheaper, better film. Some theaters began featuring more risque material, which offended theatergoers. The films screened at the end of a performance became more popular than the live show itself.