b. 26 July 1882, Paris, France, d. 20 Might 1956, Woodland, California, USA. A supervisor, producer and movie director of sophisticated romantic revues from your 1910s to the past due 30s, in his heyday Charlot, or ‘Guv’, as he became known, was rivalled just by that additional great showman, Charles B. Cochran. Charlot’s grandfather Auguste Charlot was a composer, and his dad a theatre supervisor who also committed to shows. From age 19, André worked well as an over-all secretary and business supervisor in a variety of theatres and music halls, steadily learning the French design of revue. At 26 he wedded Florence Gladman, half of the English sister take action who stopped at Paris. Charlot was the Paris agent for London’s Alhambra Theater, so when rival Western world End houses begun to introduce ragtime music and various other American enhancements, Charlot shifted to Britain, and in colaboration with actor-manager George Grossmith Jnr. , created the effective revue Wipe out That Soar! in 1912. This is accompanied by Eightpence A Mile (1913), Maintain Smiling (1913), rather than Likely! (1914) where the youthful Canadian comedienne Beatrice Lillie, who was simply to be Charlot’s most long lasting star, produced her Western world End debut. Two even more Charlot discoveries, Gertrude Lawrence and Jack port Buchanan, also surfaced as the impresario revolutionized the London musical stage with clever shows filled with talented artists such as for example Jack port Hulbert, Phyllis Monkman, Melville Gideon, Joyce Barbour, and Binnie Hale. These included5064 Gerrard (1915), Right now’s ENOUGH TIME! (1915), Examples (1915), Some (1916), This WHICH (1916), See-Saw (1916), Three Cheers (1916), Cheep (1917), Bubbly (1917), Tabs (1918), Tails Up (1918), Buzz-Buzz (1918, reported to be Charlot’s longest-running creation), Bran-Pie (1919), Simply Luxury (1920), Jumble Sale (1920), Puss-Puss (1921), A To Z (1921), Container Good fortune (1921), Snap (1922), Dé Dé (1922), andRats! (1923). Also in 1923, the up-and-coming playwright Noël Coward, who got failed a Charlot audition six years previous, made his initial appearance in revue, co-starring with Gertrude Lawrence in Charlot’s London Contacting! For this essential component, Coward was coached by Fred Astaire, who was simply in town showing up along with his sister Adele Astaire in Prevent Flirting! Coward also had written a lot of the tracks and sketches, and Lawrence released the wonderful ‘Parisian Pierrot’, his initial popular strike. By this time around, Charlot’s name was magic in the Western world End, and along with his two most recent offerings, Yes! (1923) and Puppets (1924), playing there, he shifted further afield, conquering Broadway with Charlot’s Revue. It opened up at the changing times Square Theater on 9 January 1924, and included components of his most effective London productions, especiallyA To Z and London Phoning! Jack port Buchanan reprised Ivor Novello and Dion Titheradge’s wonderful ‘And Her Mom Came As well’, Beatrice Lillie frequently stopped the display with another from the same composers’ figures, the glorious ‘March With Me’, while Gertrude Lawrence experienced the biggest strike with Douglas Furber and Philip Braham’s ‘Limehouse Blues’. Among the additional figures were ‘Night time May Possess Its Sadness’ (Novello-Collie Knox) and ‘There’s Existence In The Aged Girl However’ (Coward). Charlot’s Revue went for 298 shows in NY, so when it continued tour, Jessie Matthews, who was simply in the chorus, got over Lawrence’s component when she was sick. There was an additional model on Broadway in 1926, while, back London, Charlot’s Revue (1924 and 1925), The Charlot Present Of 1926, and Charlot 1928, held the get good at’s name on theater marquees. In 1926 he experienced an unaccustomed hiccup in his profession when an ill-advised cooperation using the Earl Carroll Vanities, an American group of gorgeous revues, resulted in financial difficulties. Nevertheless, he survived, and in 1928 founded the Weekend Play Culture and broke into BBC radio with Charlot’s Hour. After pioneering radio revue, and getting quite a superstar around the air flow, on 4 Sept 1930 he opened up the brand new Cambridge Theater with Charlot’s Masquerade. In the solid had been Beatrice Lillie, Anton Dolin, and Florence Desmond, however, not Gertrude Lawrence, who was simply poached by Noël Coward for his Personal Lives. That display, along with Cochran’s Ever Green, starring Jessie Matthews, had been Charlot’s primary competition when he offered a rare publication musical, Wonder Pub, in the Savoy Theater in Dec 1930. Regardless of a star-studded solid that included Dorothy Dickson, Elsie Randolph, as well as the passionate Danish vocalist Carl Brisson, Question Bar audiences believed it was not absolutely all that fantastic, and Charlot proceeded to go bankrupt in 1931. He returned in 1933 with How D’you Perform?, starring Frances Day time, Douglas Byng, and Queenie Leonard, and came Make sure you (1933), Hi-Diddle-Diddle (1934), Charlot’s Char-A-Bang! (1935), Shall We Change? (1935), Stop… Move (1935), THE CITY Talks (1936), Crimson, Shiny And Blue (1937), and Charlot’s Superstars And Whitening strips (1937). The last mentioned display was nearer to run-of-the-mill range compared to the stylish, smart affairs with which he previously produced his name, and, soon after its short run finished, Charlot sailed to America, ultimately settling in Hollywood. He worked well there in a variety of capacities, and was specialized consultant for Paramount Photos at one stage. In 1940 he collected together several solid users from his earlier shows, and offered Charlot’s Revue for the English War Alleviation Association, that was accompanied by Charlot’s Revuette in 1941. In the first 40s he made an appearance in the movies Arabian Nights as well as the Constant Nymph, and it is reported to possess acted in a lot more than 20 additional, mostly ‘B’ films. In 1968 he was portrayed as rather a number of fun by Alan Oppenheimer in Celebrity!, the film biography of Gertrude Lawrence, starring Julie Andrews. Although his name is certainly indelibly connected with revue, Charlot do produce a variety of reserve musicals of adjustable quality. Aswell as these Wonder Club, these included Flora (1918), which regardless of having a rating by Herman Darewski and Melville Gideon and a ensemble going by Gertie Millar, was still not really a success, Very Great Eddie (1918), The Official’s Clutter (1918), Crazy Geese (1920), OCCASIONALLY (1921), and Dance City (1935).