ABSTRACT
Edwardian musical comedies offered carefree escapism. In the First World War, the escapism was intensified (if such a paradox has meaning). Coward was also a major star in revue, which was, according to one critic, ‘the era’s most vital, innovative and influential form of musical theatre’. Revue provided two hours or so of bright and breezy song, dance and dialogue, moving fast from one item to the next. Its success largely depended on the running order of the items, contrast and rhythm achieving a cumulative effect. Whereas the items in a variety show were quite discrete, those in revue were usually loosely connected by a theme. Revue and musical comedy produced its own stars, some extremely accomplished performers, who were both exuberant and reliable. Beatrice Lillie was probably more versatile than any of these: she was capable of grotesque antics, singing while skating and an alluring sexiness.
