Stars of Slapstick #82: Fred Karno
The Fred Karno Troup was the pre-eminent company of British Music Hall pantomimes. Karno’s most distinguished alumni included both the man who revolutionized the art of silent comedy (Charlie Chaplin) and the man who brought its techniques farthest into the sound era (Stan Laurel).
“The guv’nor”, as Karno was affectionately called by his colleagues, was one of the most powerful and influential figures in music hall history. He began with a humble trio of acrobats in 1888. Seven years later he presented his first panto sketch “Hilarity” which scored a big hit with audiences. By 1901, he had added three more sketches to the group’s repertoire. In the years 1904-1914, Karno’s violently comical knockabout really hit its stride with the public. Britain at that time was undergoing a modest social revolution, from an aristocracy to a more level and fluid social structure along the lines of what had been enjoyed in the United States. Karno’s rough housing scenarios usually had plots centered around trades people and working men, allowing such people in the audience to purge some of their pent up frustration at injustices in the workplace.
One of his most successful sketches was called: “Mumming Birds”. It consisted of a vaudeville show within the vaudeville show, including members of the “audience” who would be played by Karno regulars out in the house itself. The centerpiece of the routine was a “drunk” who arrived late, causing a big commotion and calling a great deal of attention to himself. The part of the drunk was first played by one Billie Ritchie (who later became a silent comedy star), and then later by Billie Reeves (whose brother Alfred later managed Charlie Chaplin’s studio). The Chaplin connection was not a coincidence. Charlie followed his half-brother Sydney into the troupe in 1908, and rapidly became the company’s star, playing the lead role of the drunk. His understudy, a young man named Stanley Jefferson (better known to posterity as Stan Laurel) joined in 1910.
The troupe was so successful that Karno undertook an American tour in 1910. In an attempt to calibrate for American tastes, he replaced “Mumming Birds” with “the Wow Wows”, a sketch especially conceived for Yanks, about secret societies (which were then very much in vogue among the Booboise), but the bit didn’t resonate. They switched back to “Mumming Birds”, renamed “A Night in an English Music Hall” for the sake of American audiences. They started out with six weeks on the Percy Williams circuit, then did 20 weeks with Sullivan and Considine.
Karno’s salaries were pitifully small; actors stayed with him for the prestige. In their line, Karno’s comedians were known to be the best. Karno drilled his company for several hours a day for months on end, demanding that all of his actors have total command of their bodies, much as a ballet dancer or classical musician must be absolutely tops in his craft. Every actor had to be able to play every part in the show, so that any could substitute for any other in the event of an emergency. Apart from his natural talent and grace, Chaplin owed his superiority as a slapstick film clown (with Keaton his only serious rival) to his training with Karno. Chaplin also appropriated many Karno gags and situations for his films. The 1915 Essanay short A Night in the Show is essentially Chaplin’s drunken turn from “A Night in an English Music Hall.” Laurel, though not Chaplin’s equal, brought with him an indefatigable work ethic, and the technique that allowed him to always discover the funniest possible “take” for any given moment. From Karno both Chaplin and Laurel took the practice of injecting a touch of pathos into their comedy. These two most famous Karno alum went on to have nearly opposite experiences of show business success after they left the nest. The troupe itself did not long survive their departure.
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