The revue was a lavish, high-priced spectacle that defined early 20th-century entertainment.

Art · Published 3 October 2026 Swipe more like this →

In short: Before cinema dominated, the revue reigned as a premier theatrical form. Combining music, dance, and biting satire, these shows offered opulent, non-linear entertainment for the elite. While the golden age of Broadway revues eventually faded, the genre’s legacy persists in modern student traditions and iconic variety theaters worldwide.

A revue is a multi-act theatrical production that eschews a traditional narrative in favor of a loosely connected series of sketches, songs, and dance numbers. Rooted in 19th-century variety and melodrama, the genre reached its zenith between 1916 and 1932. Unlike musical theatre, which relies on an overarching story, the revue functions through a unifying theme or authorial presence. Producers like Florenz Ziegfeld Jr. became synonymous with the form, using proprietary names like 'Follies' to brand their extravagant, often expensive shows.

The revue was designed to appeal to a wealthier audience than vaudeville, justified by high ticket prices and a reputation for sophisticated, irreverent satire. These shows were known for their visual spectacle and the frank display of the female body, a hallmark of the era's burlesque influence. Because revues were centralized in New York City and offered lucrative, stable salaries, they attracted top-tier talent, including performers like the Marx Brothers and composers such as George Gershwin and Irving Berlin. This centralization allowed producers to effectively launch new stars into the American theatrical consciousness.

The rise of talking pictures in 1927 signaled the beginning of the end for the live revue's dominance. Studios began filming stage acts, eventually producing lavish, feature-length musical revues that offered greater opulence at a lower cost than live theatre. While the Broadway revue largely retreated during the Great Depression, the form evolved. Late 20th-century revues often shifted toward song cycles focused on specific composers, such as Stephen Sondheim or Eubie Blake. Today, the spirit of the revue survives in traditional variety houses like the Moulin Rouge and in the enduring, often humorous, student-led sketch shows at universities across the UK, Canada, and beyond.

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