The Music Hall War

In 1907, growing unrest in the ranks of music hall performers over what they felt were increasingly unfair and restrictive contracts of employment being forced upon them, suddenly came to a head and resulted in strike action. At that time many of the halls were controlled by a relatively small of group of managers, each of whom may control a number of houses. This gave the managers tremendous power over the performers they employed, power which many began to abuse for their own benefit.

Eventually the performers were driven to action, starting a movement which they called the 'Variety Artistes Federation' (V.A.F. - formed 1906) and declaring 'War!' on the managers. Although it was the lesser known 'rank-and-file' performers who were most troubled by these unfair practices, many of the top 'headliners' of the day lent their support and refused to perform until the dispute was settled. Such stars as Marie Dainton, Marie Lloyd, Harry Relph ('Little Tich'), Arthur Roberts and Joe Elvin, all joined in the dispute even though they themselves were able to command salaries which meant they were little troubled by conditions in the halls generally. These stars might command as much as £80 a week (a huge sum in those days) under one contract, and it was not unusual for them to have two contracts running concurrently with the same or different managers (performing turns in different halls). Even the famous American lightweight boxer 'Battling' Nelson, who was booked to fill the gap caused by the strikers at the Holborn Empire, refused to cross the picket lines saying that he would rather forfeit the five thousand pounds due him than be called a 'scab'.

The V.A.F. began a strike which closed down many of the halls and became known as the 'Music Hall War of 1907'. Their greivances being summarised in a document which set out the following demands:

1. That at all halls working two shows a night, all matinees shall be paid for at the rate of one-twelth salary for each matinee. In one-show-a-night halls, all matinees over one per week to be paid for at the rate of one seventh salary.
2. That no artiste or artistes shall be transferred from one hall to another without his, her, or their consent.
3. That "time" shall not be varied after Monday in each week without the artistes consent.
4. That all disputes shell be referred to a Board of Arbitration, such board to consist of two nominees of ________________ the undersigned, and two nominees of the Variety Artistes Federation Executive Committee, and an independent chairman, to be nominated by the above four nominees.
5. That a "barring clause" of one mile and three months in London, and five miles and five months in the provinces, be adopted.
6. No commission to be stopped where artistes are booked direct.
7. No bias or prejudice to be shown to any artiste who has taken part in this movement.
8. This agreement to refer to all existing and future contracts, and to become operative on _____________ 1907.
9. That the V.A.F. form of contract be adopted as soon as supplied.

The causes and greivances may be summed up as follows:

1. That at all halls working two shows a night, all matinees shall be paid for at the rate of one-twelth salary for each matinee. In one-show-a-night halls, all matinees over one per week to be paid for at the rate of one seventh salary.

In the years leading up to the strike a number of music hall managers, in a bid to increase their revenues, had decided to stage two performances every evening instead of one. The first typically beginning around 6:45 and the second at around 9:00PM. As the overall lengths of these performances had to be shortened to fit two shows into one evening admission prices were reduced, but doubling up on attendances led to greatly increased receipts overall. When this system was implemented the majority of performers were told that they would have to give two performances per evening instead of one, but without any increase in salary. Of course, the length of their individual turns was reduced but with earlier start and later finish times they were made to remain in the theatre much longer. Thus the artistes were expected to contribute more to each evenings performances without any corresponding increase in payment. Even so, most accepted this with minimal complaint. However, the unfairness did not end there.

In the music halls at that time it was customary for performers who were engaged for a full week of evening performances to give one afternoon matinee performance free. When the performers were engaged for twice the number of evening performances, even without their salaries being increased, they were expected to give twice the number of free matinee performances as well, ie. two per week instead of one. This further increased the burden placed upon them with still no increase in payment. Some managers went even further, writing into contracts "matinees as required", and at holiday periods performers might be expected to give matinee performances daily - for no pay.

This demand by the V.A.F. therefore was for nothing more than a return to the original status quo. Where performers were contracted to perform one show a night they would give one matinee free as before, and additional ones would be paid pro rata. Where they were contracted for two shows a night, each matinee would be paid at what amounted to half their nightly salary, so for two matinees they would be paid one evenings salary which effectively amounted to the same thing.

2. That no artiste or artistes shall be transferred from one hall to another without his, her, or their consent.

Music Hall artistes were generally contracted to the manager rather than the hall, and as many managers controlled more than one hall they would expect to shift their performers around as and when they saw fit. If a performer was transferred to another hall in the same locality that might present little hardship, but a performer might just as easily be moved to a hall across London or somewhere in the provinces. This might make it impossible for that performer to fulfill other engagements he or she may have entered into with another manager (and which he/she could easily have kept whilst working at the original location), thus leading to a loss in earnings. Furthermore, artistes could be transferred to halls in different parts of the country from week to week thus accumulating considerable travelling expenses for which they were not compensated.

This clause therefore sought to protect the artistes from these types of hardships by ensuring that they would only be transferred to other venues by mutual agreement.

3. That "time" shall not be varied after Monday in each week without the artistes consent.

Managers would sometimes manipulate the timing of certain acts to force out artistes whose services were no longer required. For example, a particular performer may have two concurrent engagements for twenty minute 'turns' at different halls, timed to appear on stage at one venue at say 8:00PM and the other at say 10:00PM. If the manager of one hall decided he no longer required that act he could not dismiss it without paying up the remainder of the contract. So instead he would deliberately change the timing of that turn so that it clashed with the artistes other commitment. This would force the artiste to be the one to break the contract since he/she could not be in two places at once, and the manager would not then be liable to pay compensation.

This clause in the V.A.F.'s demands was intended to give some measure of protection to artistes against this form of constructive dismissal. It was hardly unreasonable to ask that artistes be informed on Monday at what hours they were required to perform for the remainder of that week, and would afford them some measure of security to accept other bookings.

4. That all disputes shell be referred to a Board of Arbitration, such board to consist of two nominees of {space for signatory} the undersigned, and two nominees of the Variety Artistes Federation Executive Committee, and an independent chairman, to be nominated by the above four nominees.

In all disputes between managers and artistes the managers themselves had always been the sole arbiters. The artistes had had little choice in most cases other than to bow to the managers will, however unfair that may sometimes have been.

The purpose of this clause therefore, was to ensure that future disputes would be settled fairly, according to the facts.

5. That a "barring clause" of one mile and three months in London, and five miles and five months in the provinces, be adopted.

It was common practice for music hall performers contracts to include a clause barring them from performing at another hall within a certain distance to the one at which they were contracting to appear. This was not unreasonable since engagements were usually arranged in advance. If an artiste was then to appear at another nearby hall before actually commencing a given engagement the local populace would already have seen his or her act. This reduced the novelty of that artiste's performance and lessened his/her drawing power, potentially reducing attendances at the second hall.

What was unfair about this restriction however was that it commonly took no account of time, but simply came in to effect from the moment the contract was signed. Some engagements might be arranged a whole year or more in advance however, and it was unfair to prevent an artiste from earning a living within a particular area for so long a period of time. Furthermore, an artiste may have signed a number of such future engagements, thus adding to the areas in which he/she is barred from appearing in the short term.

The purpose of this clause was simply to limit the time and distance over which this barring clause applied in an effort to be fair to both parties. Since halls were more numerous in London, and the population more densely packed so that they drew their patrons from a smaller area, the restriction was less here than in the provinces.

6. No commission to be stopped where artistes are booked direct.

Oftentimes, artistes would be booked through a theatrical agent, in which case the agent would be paid a commission consisting of a percentage of their salary. This commission was recompense to the agent for their time and effort in finding work for the artiste. When no agent was involved however, it was common practice for the theatre managers to stop the customary agents commission (5%) from the artistes salary which they would then keep instead!

This clause then was intended to end a practice which was unique to the music halls and which the artistes considered to be little less than extortion.

7. No bias or prejudice to be shown to any artiste who has taken part in this movement.

This clause was simply to protect any performers who had taken leading roles in the strike from reprisals by the managers.

8. This agreement to refer to all existing and future contracts, and to become operative on {space for date} 1907.

This clause was to the date, when agreed, from which the these new terms and conditions were to come into effect.

9. That the V.A.F. form of contract be adopted as soon as supplied.

The V.A.F. were to supply the managers with a new form of contract document encompassing these terms and conditions which the managers were then to use for future contracts.

The strike was not limited to the artistes alone. The orchestra musicians also took part, their main greivance being with regard to pay. They asked for a minimum salary and payment for matinees based on one full evenings salary for one show a night houses, and half an evenings salary for two show a night houses.

The National Assocation of Theatrical (Stage) Employees representing the stage hands also joined in the strike, and their members greivances in some cases were possibly the greatest of all. They had been particularly hard hit in those houses which had changed to two shows a night. Two shows meant a longer evening, more scene and lighting adjustments etc. All of which meant more work for everyone from the dressers and make-up artists to the scene changers and lighting men. Poorly paid already, they had been expected to work even harder for the same money. Their demands were simple, just a decent living wage - fair pay for honest work.

Some of the more fair minded managers recognised the justice of the strikers claims and quickly came to terms. Others resisted more strongly and tried to keep the halls open by bringing former performers out of retirement and booking unknowns. The artistes picketed the halls distributing leaflets declaring ‘Music Hall War!’, and the managers responded distributing leaflets of their own defending their own position. But it was the performers who won the hearts and minds of the public, especially when they had such popular favourites as Marie Lloyd and Marie Dainton on their side. Gradually the managers were worn down and forced to come to the negotiating table to settle the dispute with fairer pay and better conditions.

After only a few weeks the strike was over, the strikers went to abitration and got an award. Still that was not an end to their problems, as this extract from the 1907 Trades Union Congress Annual Report reveals:

• Mr. J. O'Gorman (Variety Artistes Federation) took the opportunity of thanking the Trade Unionists for the help they gave the members of his society during the late strike, especially Mr Isaac Mitchell. He went on to explain the growing evil of the matinee custom, which compelled variety artistes to give a lot of extra performances for nothing. They went to arbitration, and they got an award: but he was sorry to say that, with one exception, the music-hall proprietors were trying to evade it. He hoped the Trades Unionists of the country would continue to support them if they were driven further.

But over time conditions did improve. The music hall artistes had shown that they now had a voice, and the V.A.F. would continue the fight to protect the rights of its members for many years to come. It began its own regular weekly publication, "The Performer", which was founded by 'Uncle Fred' who had been a journalist before becoming a reknowned ventriloquist. It would remain the main association for members of the Music Hall and Variety profession until 1957 when it amalgamated with British Actors Equity (formed 1930).