Page 195 - Weiss, Jernej, ur./ed. 2021. Opereta med obema svetovnima vojnama ▪︎ Operetta between the Two World Wars. Koper/Ljubljana: Založba Univerze na Primorskem in Festival Ljubljana. Studia musicologica Labacensia, 5
P. 195
288 metres of velvet, 16 pairs of shoes, 12 yellow top hats, 5 bathtubs ...
Figure 3: Jack Haskell, the English girls and Ernő Szabolcs
Színházi Élet XV, no. 4 (25–31 January 1925): 10, https://epa.oszk.hu/02300/02343/00546/
pdf/.
quality and execution could be compared to the same kind of productions
in American and European metropolises.
The 16 English girls arrived in Budapest with Jack Haskell, at the end
of November 1924. An intensive rehearsal period started almost immedi-
ately58 along with the promotional campaign for the show. Despite the fact
that they were unknown in England, the Hungarian press treated the girls
as stars. They had a photoshoot with the famous photographer Angelo, who
also wrote an article introducing them in Színházi Élet.59 Each of the girls
was presented as a distinctive stereotype or characteristic (the sporty, the
fragile, the phlegmatic, the aggressive, the one who plays the ukulele, etc.).60
This was a key feature of their promotional campaign, and when some of
them were replaced during the run, the new girls arrived with their already
58 “[...] the girls dance before noon, afternoon and during the night.” They rehearsed
three times per day already, a month and a half before opening night. Magyarság,
December 14, 1924.
59 “Mit szólnak a Haskell-görlök Budapesthez?” [What do the Haskell-girls say about
Budapest?], Színházi Élet XV, no. 1 (4–10 January 1925): 12–4, https://epa.oszk.
hu/02300/02343/00543/pdf/.
60 The same marketing technique was used widely regarding girl and boy bands in the
1990s. For instance, each of the Spice Girls (1996) had an official nickname referring
to her designated type e. g. Sporty, Scary, Baby etc.
193
Figure 3: Jack Haskell, the English girls and Ernő Szabolcs
Színházi Élet XV, no. 4 (25–31 January 1925): 10, https://epa.oszk.hu/02300/02343/00546/
pdf/.
quality and execution could be compared to the same kind of productions
in American and European metropolises.
The 16 English girls arrived in Budapest with Jack Haskell, at the end
of November 1924. An intensive rehearsal period started almost immedi-
ately58 along with the promotional campaign for the show. Despite the fact
that they were unknown in England, the Hungarian press treated the girls
as stars. They had a photoshoot with the famous photographer Angelo, who
also wrote an article introducing them in Színházi Élet.59 Each of the girls
was presented as a distinctive stereotype or characteristic (the sporty, the
fragile, the phlegmatic, the aggressive, the one who plays the ukulele, etc.).60
This was a key feature of their promotional campaign, and when some of
them were replaced during the run, the new girls arrived with their already
58 “[...] the girls dance before noon, afternoon and during the night.” They rehearsed
three times per day already, a month and a half before opening night. Magyarság,
December 14, 1924.
59 “Mit szólnak a Haskell-görlök Budapesthez?” [What do the Haskell-girls say about
Budapest?], Színházi Élet XV, no. 1 (4–10 January 1925): 12–4, https://epa.oszk.
hu/02300/02343/00543/pdf/.
60 The same marketing technique was used widely regarding girl and boy bands in the
1990s. For instance, each of the Spice Girls (1996) had an official nickname referring
to her designated type e. g. Sporty, Scary, Baby etc.
193
