PHAB NS DIGITAL SCRAPBOOK 1880S-2020S


​Introduction

Nova Scotia boasts a unique burlesque history that has remained largely unknown to the modern public. Unlike other major cities, the province did not have designated burlesque clubs or cabarets during the golden era of the 1930s to 1950s, though venues like the Garrick Theatre occasionally came close. Whether due to a desire to avoid strict censorship or the province’s conservative values (or a combination of both), many burlesque acts that visited did not advertise themselves as such in local promotions, despite doing so in other cities. This has posed significant challenges in identifying these performances during our research.

As the meaning of the word burlesque has evolved over time, so too have the terms used to describe these shows. Words such as extravaganza, travesty, gaiety, musical comedy, follies, novelty, vaudeville, dance show, and revue were often used in place of burlesque, and though they are commonly associated with the art form, they can have different meanings depending on the context. These terms require careful examination and cross-referencing with other sources to confirm whether they truly refer to burlesque acts. We’ve worked diligently to ensure the accuracy of these records and provide a comprehensive view of Nova Scotia’s fascinating burlesque legacy.

This scrapbook represents an abbreviated collection of the materials we’ve discovered relating to burlesque in Nova Scotia. We’ve uncovered a significant number of clippings, documents, books, photos, videos, and other resources that we are in the process of compiling to build a cohesive narrative and definitive history. We are only in the early stages of this research, and we anticipate there will be more to come as we delve deeper into this forgotten chapter of Nova Scotia’s theatre history.

Content Advisory: Historical Materials

This project engages with archival materials and historical narratives that include language, imagery, costuming, and representations that are now recognized as racist, culturally appropriative, and otherwise offensive. These elements reflect the prevailing attitudes and social norms of their time, not the values of this project or its contributors.

Their inclusion is not intended to condone or perpetuate harm, but rather to provide an unflinching and critical examination of the historical realities of burlesque performance. By confronting these problematic aspects directly, we aim to foster a deeper understanding of the cultural context in which these performances occurred and to acknowledge the ways in which entertainment both shaped and reflected systemic inequities.

We recognize that engaging with these materials may be distressing. Viewer and reader discretion is advised.

Reading and Accessibility Note
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Please note that some scanned materials in this scrapbook may be difficult to read due to the quality of the original sources or limitations in the scanning process. If there is a particular story or section you would like clarified or transcribed, feel free to contact us. We are happy to assist and provide additional context or cleaner versions where possible.

​Rights and Reproduction Notice

The written content contained in the PHAB NS scrapbook is the intellectual property of the Society for Preserving the History and Art of Burlesque in Nova Scotia. It may not be copied, reproduced, distributed, or used in any form without prior written permission from the society. This includes, but is not limited to, text excerpts, research summaries, and historical commentary. Please contact us for inquiries regarding permissions or usage.


Land Acknowledgement 
PHAB NS acknowledges that the work we undertake takes place on Mi’kma’ki, the ancestral and unceded territory of the Mi’kmaq people. These lands hold histories and knowledge systems that extend beyond colonial records, including those maintained through language, oral tradition, and cultural practice. As we document and preserve the history of theatre in this region, we do so with recognition of the longstanding presence and contributions of Mi’kmaq communities. We recognize the importance of listening to and respecting Indigenous knowledge, and of acknowledging the broader historical context in which this work takes place.