Theatre Design & Technology - Winter 1999 - 40

fore. 6 josephine herself once said that the idea was given
to her by jean Cocteau.- It seems much more likely, however, that credit should go to one of the designers of the
revue: Erte, Brunelleschi, de ZanlOra, Montedoro,
Betout, Pavis, Ranson, or Barbier. Tllis supposition is
strengthened by the fact that the banana skirt made a second appearance later in the show in a number titled "La
Roue vers d'Or" (The Gold Rush). The bananas, however, now were transformed (fig. 3). Instead of fairly realistic-appearing fruit, they were metallic gold, and
sntdded with rhinestones.
Although the banana skirt is by far the most famous
of her costumes, we find josephine appearing in two
other numbers in La Folie du jour in which her costumes also point toward directions in which her stage
persona would develop. In "La Boule des Fleurs" (The
Ball of Flowers), an enormous floral globe was lowered
from the flies onto the stage. It opened, and out stepped
josephine to dance the Charleston on a nlirrored floor,
before stepping back into the globe to be lifted away. For
this number, she was dressed in a Music Hall version of a
grass skirt with floral leis around her neck-a South Sea
Island touch (fig. 4). She was again a figure of fantasy,
dark and exotic, this time tapping into a Frenchman's desire to emulate Gauguin-and, perhaps, to dance the
Charleston as well.
Another number of the revue depicted the various
fans of the world-ivory, lace, diamonds, fire-as personified by various of the Music Hall's artistes. joseplline
was the feather fan, a showgirl just like the French
women, and she was portrayed in this guise on the cover
of the souvenir program (fig. 5).
The following year, 1927, the Folies Bergere produced Un Vellt de Folie, again featuring josephine. The
designers listed in the program are Brunellesclli, de
ZanlOra, Montedoro, Betout, Ranson, Czenel, and
Thirriot. However, George Barbier designed josephine's
costume for the number "La Meme en 1927" (She's the
Sanle in 1927). It's quite interesting to note the differences between the rendering and the finished cosnlme,
including how much barer the actual cosnlme is (figs. 6
and 7). The plumes, too, are noticeably different-perhaps the long boas were too difficult to control with
josephine's wild dancing. In both incarnations, however,
tllis costume is in the same spirit as the feather fan from
La Folie du jour-tllis is josephine, the Parisian
showgirl.

Other tableaux from Un Vellt de Folie bear out the
title of this first number-josephine really was "The
Same in 1927." In a tableau titled "Plantation," she was
dressed in almost the identical cosnlflle she wore in her
debut (fig. 9). For the finale, "Paris en Folie," she was
dressed in a very odd but charnling outfit (figs. 8 and 10)
possibly designed by Ranson, who did the poster. It consisted of nille leggings trimmed with spangles and jewelled balls, and a pair of red gloves with glittering balls at
the fingertips. The tufts of plumes from her waist and
from her silly little conical hat add to the whimsy of the
costume. It is absurd and it is unique, but it is unmistakably the costume of a Paris showgirl.

5
7. Baker and Chase 135. Slephen Papid!, in his book Remembering
Josepbine (Indianapolis and New York: Bobbs-Merrill, 1976) 55,
credils Henri Varna for its invenlion, btll Ihis seems hardly credible
in Ihat he seems to think Ihal Varna, Ihe impressario of the Casino
de Paris, was the director of Ihe Folies Bergere al this lime, ralher
than Ihe aClual director, Paul Den'aI.

38

WI' T

E R

I 9 9 9

TZl&T

Josephine as the
feather fan; from the
cover of the program
of La Folie du Jour.



Table of Contents for the Digital Edition of Theatre Design & Technology - Winter 1999

Contents
Theatre Design & Technology - Winter 1999 - 1
Theatre Design & Technology - Winter 1999 - 2
Theatre Design & Technology - Winter 1999 - 3
Theatre Design & Technology - Winter 1999 - Contents
Theatre Design & Technology - Winter 1999 - 5
Theatre Design & Technology - Winter 1999 - 6
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