Music Hall Memory Box
The Music Hall Strike of 1907
On 21 January 1907, the Variety Artists' Federation (VAF), National Association of Theatrical Employees (NATE) and the Amalgamated Musicians Union (AMU), initiated a unified strike at music halls run by George Adney Payne and his son-in-law Walter Gibbons, in defence of artists, stage staff and musicians. The strike began at the Holborn Empire, but by the next day there were strikes at all fourteen halls controlled by the pair.
The strikes were a response to the increasing commercialisation of the music hall sector. The original music halls were managed by independent businessmen, but by the 1880s, chains of music halls controlled by large companies had begun to emerge. The halls were now a commercial venture, and profit was prioritised before everything else. Consequently, the contracts of music hall performers became stricter. An ‘exclusivity clause’ stipulated that artists could not engage in performances at other theatres on any given night, apart from at the theatre they were contracted to, and for a year after signing their contracts, could not perform at any rival halls in the local area. The amount of money that a performer could now make in one evening was constrained. Moreover, artists were generally contracted for one matinee performance per week, but many managers added extra matinee performances with little notice and refused to pay the artists for these extra shows.
Together the unions presented music hall managers with the Charter of the National Alliance. They demanded better pay for musicians, stage staff and performers. More specifically, the VAF demanded that artists be paid for every additionally matinee performance and that performance times were not altered without the performers prior consent.
Initially performances were halted at the Holborn Empire, Islington Empire, Balham Duchess, Clapham Grand, Ealing Hippodrome, Croydon Place, the Oxford, the Tivoli, the Canterbury, Euston, East Ham Palace and Walthamstow Palace. On 29 January 1907, the Bedford Palace of Varieties was added to this list, and by the end of the strike, 22 halls were involved and 2,000 members of the VAF were on strike
Poster used to canvass for support during the strike. V&A Theatre Collection.
Music hall owners drafted in retired or unknown acts to break the strikes. However, with the most famous and adored stars, including Marie Lloyd, supporting the strikes, the pressure on the mangers became immense. Lloyd even performed on the picket lines and helped to distribute ‘Music Hall War’ pamphlets.
An Emergency Relief Fund, for those on strike, was established by Little Tich, Arthur Roberts and Joe Elvin, and a fundraising show was organised at the Scala Theatre in London on 12 February 1907, where Marie Lloyd performed.
The strikes did not spread to the provinces and on 13 February 1907, after 23 meetings between union leaders and music hall owners, an agreement was reached. Pay was increased for performers, stage staff and musicians; payments were introduced for additional matinee performers; and maximum working hours were established for musicians.
"We the stars can dictate our own terms. We are fighting not for ourselves, but for the poorer members of the profession, earning thirty shillings to £3 a week. For this they have to do double turns, and now matinées have been added as well. These poor things have been compelled to submit to unfair terms of employment, and I mean to back up the federation in whatever steps are taken.
Marie Lloyd, 1907
Did you know?
Before exclusivity contracts were introduced, music hall stars performed at multiple theatres per night.
Vesta Tilley alludes to this is an amusing story in her autobiography. She was contracted to play the prince in 'Beauty and the Beast' at the Dury Lane theatre during the 1890 to 91 season. However, she was most offended that her face would be covered by a mask for most of the show and turned the situation tremendously to her advantage.
Below is a poem telling the story of the strike, through the eyes of a fictional dancer called Clara...
A fight for our rights!
My name is Clara, and I’m on this stage,
Trying to fight for a decent wage.
And one of the places I feel at home,
Is here, at the Ealing Hippodrome.
And as I stand on this picket line,
I hope you heed these words of mine.
1907, and the world has enjoyed,
The Music Hall talents of Marie Lloyd.
All the great stars we love today,
If we lose this war, will fade away,
For if Payne and Gibbon have their way.
We will work much harder, for much less pay.
I am only a dancer, but my dancing feet,
Want to tread the boards, with the singing elite.
Arthur Roberts, Vesta Tilly too,
Who always bring their talents to you.
George Leybourne, someone to admire,
And to whose great talent I will aspire.
Please support this strike, and the Unions too.
Let the Artists Federation work for you.
To bring you excitement at the Music Hall,
To be enjoyed by one and all.
Please support this strike, improve our right,
To work where we want, and when we like.
We are not servants at the Masters feet,
We are Music Hall stars, with fans to greet.
This “Music Hall War” that we fight today,
Will improve conditions, bring better pay.
My name is Clara, so help me do,
To retain the right to dance for you.
If I cannot earn enough to eat,
What will I do with my dancing feet?
I have not the words, yet I need to fight,
For hope and justice, and the common right,
To dance on this stage, with my dancing feet,
And impress the fans, I hope to meet.
Written by Pauline Tabrar