'The only weekly paper dealing exclusively with Vaudeville, Drama, Pictures, Circus, Parks, Fairs and kindred amusements of the Antipodean Show World.' Although the price increased, the size remained the same and there was no break in style or content between Australian Variety and Australian Variety and Show World. It continued with 'newsy notes', regular reviews of shows at specific theatres, critiques of current film releases, interstate and international notes, club and association reports (Musicians, Magicians, Vaudeville Artists, Tattersall's), and boxing and racing columns. It also continued the tradition of large Christmas editions, carrying seasons greetings – often in display form – from individual performers and companies. Joint publisher from August 1917 was Andy Kerr (the Coogee Bunyip), a leading bookmaker. The effects of war, paper shortages, and the influenza epidemic on business were noted. The magazine was still partially addressed to those in the know, including the racing 'Heads', the theatrical 'Chasers', 'Bondi Beach combers', and the residents of the theatrical boarding house 'Pacific Mansions', whose doings were recorded in cryptic references, nicknames, and innuendoes. This element declined as moving pictures became increasingly important, not least through their extensive advertising, and from early 1918, film censorship was a significant topic. In May 1920 (No.1043), the editor published an Open Letter to the Film Exchanges, declaring, 'We have looked the matter over from all angles, and we have decided to cast our lot with the buyers and sellers of the shadowy screen, and, from now on, we are with you heart and soul'.
Australian Variety
Australian Variety and 'Sports' Gazette
Martin C. Brennan
(editor),
1913
Sydney
:
Martin C. Brennan
,
1913-1916
Z1210719
1913
periodical
(27 issues)
The first issue introduced the magazine's aim as 'to provide pithy paragraphs' about the amusement world generally, with special attention given 'to fair and impartial criticisms on vaudeville acts that will come under notice from time to time in this and other States'. As well as vaudeville, it reported on legitimate theatre, amusement parks, moving pictures, boxing, and racing, and published interstate notes and letters from performers working overseas. It praised talent and good fellowship and fully accepted performers regardless of ethnicity. Directed towards an insider readership of peripatetic theatrical performers and the racing fraternity, its commitment to the latter was made more explicit by a change of title from 6 January 1915 to Australian Variety and 'Sports' Gazette, and a regular column by 'Redleap' (bookmaker Jika Hendy) of 'items of interest to those men about town who relish the pointed references and innuendoes calculated to entertain and amuse'. There was a series of occasional columns on 'Frocks and Frills at the Vaudeville Theatre'. It more regularly included reports on social clubs such as the Australian Terriers Society, Australian Boosters Club, and the Chasers (q.v.); benevolent lodges (RAOB); and professional associations such as the Australian Vaudeville Artists' Federation and Magicians Club. Its office provided such services as a letter drop and the preparation of performance materials. It also organised benefits for distressed performers and their dependents, and lobbied against the unscrupulous and the unfair.
Vol.10, no.115 (29 Dec.1915) was published as Australian Variety Annual (three pence), edited by the panto dame, Dan Thomas.
Everyone's
Everyone's Variety;
Everyone's : The Motion Picture Authority
Martin C. Brennan
(editor),
1921
Sydney
:
1921-1937
Z1213612
1921
periodical
(24 issues)
Everyone's was a magazine of the entertainment world, designed for fans as well as performers. Its short parts covered the range of sport, the screen, theatre, and music, emphasising humorous anecdotes about the stars and personalities. 'Beauty Hints' and 'From a Feminine Point of View' called directly to a female readership, while the bulk of the magazine initially had a more masculine tone. After little more than a year, it joined forces with Australian Variety and Show World, which continued under the editorship of Martin C. Brennan. The two distinct parts of the magazine gradually merged, creating the authoritative voice on cinema in Australia till 1937.
