The Ziegfeld Follies Is An Example Of A

The Ziegfeld Follies is an Example of a Golden Age of American Spectacle

So, the Ziegfeld Follies is an example of a revolutionary theatrical genre that defined an era, blending high fashion, elaborate choreography, and star-making machinery into an unparalleled spectacle. More than just a series of vaudeville-style shows, the Follies represented the pinnacle of Gilded Age extravagance and the birth of modern American entertainment production. Running from 1907 to 1931, these lavish revues, masterminded by producer Florenz Ziegfeld Jr., created a template for grand-scale entertainment that influenced everything from Broadway musicals to Hollywood cinema and even contemporary award shows. Understanding the Ziegfeld Follies is to understand a crucial chapter in the evolution of popular culture, where the pursuit of beauty became a national obsession and the theatre stage transformed into a canvas for dreams.

The Birth of a Theatrical Revolution

To grasp what the Follies exemplify, one must first understand the theatrical landscape of early 20th-century America. The era was dominated by vaudeville—a series of unrelated, often comedic or musical acts—and the more narrative-driven operetta. Florenz Ziegfeld, a savvy promoter with an eye for beauty and a knack for publicity, saw an opportunity to create something entirely different. Inspired by the Folies Bergère of Paris but determined to make it uniquely American, he envisioned a show where the primary narrative thread was not a plot, but an overarching theme of glamour, opulence, and feminine idealization.

The first Follies of 1907 was a modest success, but it was with the 1908 edition that the formula crystallized. Ziegfeld introduced the concept of the "Ziegfeld Girl"—a specific, ethereal standard of beauty characterized by towering height, flawless skin, and an elegant, statuesque presence. Consider this: these women were not merely performers; they were living works of art, often dressed in costumes so elaborate they were considered haute couture. Now, the shows featured a seamless flow of music, dance, and comedy sketches, all tied together by a unifying aesthetic rather than a story. This structure made the revue format a dominant force in American entertainment for decades.

The Ziegfeld Follies as a Cultural Mirror

The Follies is an example of a cultural barometer, reflecting and often shaping the social mores, anxieties, and aspirations of its time. The shows were a potent mix of escapism and subtle commentary.

• The Idealization of Femininity: The "Ziegfeld Girl" became the definitive beauty standard of the 1910s and 1920s. Figures like Anna Held (Ziegfeld’s first major star and wife), Lillian Lorraine, and later Fanny Brice and Billie Burke, were mythologized. Their images, captured in iconic photographs by Alfred Cheney Johnston, were disseminated nationwide, influencing fashion, advertising, and the very concept of female glamour. This was a commercialized, mass-produced ideal, yet it offered a vision of female power and visibility that was revolutionary for its time.
• Jazz Age Energy: As the 1920s roared, the Follies evolved. The music shifted from waltzes and operetta-style songs to the syncopated rhythms of jazz. The dancing became more athletic and suggestive, mirroring the decade’s liberation. The famous "Bicycle Built for Two" number or the "Wedding Cake" dance were feats of precision and spectacle that captured the era’s frenetic, modern energy.
• Ethnic Stereotypes and Social Commentary: It is impossible to discuss the Follies without acknowledging its problematic elements. The shows frequently employed ethnic caricatures—Irish, African American, Jewish, and Asian stereotypes—in comedy sketches. While common for the period, these portrayals reinforced harmful prejudices. Conversely, the Follies also provided a rare platform for Black performers like Bert Williams (a notable star who headlined the 1910 Follies) and Eubie Blake, albeit within segregated and stereotyped frameworks. The shows thus present a complex picture of American society, simultaneously progressive in its scale and regressive in its social representations.

The Anatomy of a Follies Production: Engineering Wonder

What truly set the Ziegfeld Follies apart was its production values, which were astronomical for the time. Ziegfeld famously said, "The girl is the most important element in the show," but he surrounded her with a machinery of wonder.

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1. Costumes as High Fashion: Ziegfeld collaborated with the finest designers, most notably Erté (Romain de Tirtoff), whose designs for the 1920s Follies are legendary. Costumes were not simple stage clothes; they were constructed from sumptuous fabrics like silk, velvet, and lace, adorned with feathers, jewels, and involved beadwork. The famous "Glorifying the American Girl" photograph series showcased these costumes as standalone art objects.
2. Set Design as Immersive Worlds: The sets transformed the stage into fantastical realms—from ancient Egyptian temples and Japanese gardens to modernist skyscrapers and dreamlike clouds. Designers like Joseph Urban created painterly, atmospheric sets that used innovative lighting and painting techniques to create depth and illusion on a grand scale.
3. Choreography as Visual Symphony: Choreographers like Ned Wayburn developed a signature style known as "spectacle dancing." It emphasized geometric patterns, kaleidoscopic formations, and synchronized movement on a massive scale. The focus was on creating a breathtaking visual tableau where the individual dancer was part of a greater, shimmering whole. The famous "Ziegfeld Walk"—a slow, graceful, hip-swaying strut—became an iconic piece of movement.
4. The Integration of Comedy: The spectacle was balanced by comedy routines from legends like W.C. Fields, Eddie Cantor, and Fanny Brice. These provided crucial relief from the visual overload and connected with audiences on a more relatable, human level. Brice’s "**Fun