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 The form of entertainment known as burlesque grew popular in the United States in the mid-nineteenth century, drawing inspiration from Victorian British Burlesque, a form of musical theater parody that satirized canonical works of literature and drama through pastiche, puns, and the mocking of tropes. In the late nineteenth and early twentieth centuries, burlesque shows were a popular form of entertainment for Trinity College students. A distinctive feature of these shows was the presence of male students playing female roles. Throughout this period, several annual traditions featured burlesques written and performed by students.   The form of entertainment known as burlesque grew popular in the United States in the mid-nineteenth century, drawing inspiration from Victorian British Burlesque, a form of musical theater parody that satirized canonical works of literature and drama through pastiche, puns, and the mocking of tropes. In the late nineteenth and early twentieth centuries, burlesque shows were a popular form of entertainment for Trinity College students. A distinctive feature of these shows was the presence of male students playing female roles. Throughout this period, several annual traditions featured burlesques written and performed by students.  
  
-The first known burlesque show put on by Trinity students was an operetta entitled “The Sweets of Matrimony.” It was performed by the Euterpean Society at the Philo Dramatic Hall in [[hartford|Hartford]] in February 1870. The burlesque was part of a longer program of performances by the student group, and the event was well attended by members of both the Hartford community and Trinity students alike. As the title of the operetta suggests, and //[[tablet|The Trinity Tablet]]// confirmed, the students portrayed a “truthful representation of the trials that one who ventures on the treacherous sea of matrimony must expect to experience.” ((//The Trinity Tablet//, 1870-03-15)) The show was a lively collage of numbers from various Italian, English, and French operas, performed in solos, duets, and an aria. The female roles were performed by male students, which contributed to the raucous atmosphere of outrageous farce. “The Sweets of Matrimony” was performed by the Euterpean Society at least three times in 1870, with additions to the run-of-show included with each presentation. Because many of the Euterpeans graduated that year, the group was not active in years following, and the burlesque show they had developed was not performed again.  +The first known burlesque show put on by Trinity students was an operetta entitled “The Sweets of Matrimony.” It was performed by the [[glee_club|Euterpean Society]] at the Philo Dramatic Hall in [[hartford|Hartford]] in February 1870. The burlesque was part of a longer program of performances by the student group, and the event was well attended by members of both the Hartford community and Trinity students alike. As the title of the operetta suggests, and //[[tablet|The Trinity Tablet]]// confirmed, the students portrayed a “truthful representation of the trials that one who ventures on the treacherous sea of matrimony must expect to experience.” ((//The Trinity Tablet//, 1870-03-15)) The show was a lively collage of numbers from various Italian, English, and French operas, performed in solos, duets, and an aria. The female roles were performed by male students, which contributed to the raucous atmosphere of outrageous farce. “The Sweets of Matrimony” was performed by the Euterpean Society at least three times in 1870, with additions to the run-of-show included with each presentation. Because many of the Euterpeans graduated that year, the group was not active in years following, and the burlesque show they had developed was not performed again.  
  
 On May 18, 1880, Trinity students performed William Brough’s //The Field of the Cloth of Gold//, based on the extravagantly opulent displays of wealth and pageantry at the 1520 summit meeting between King Henry VIII of England and King Francis I of France. The show was made burlesque by more than 30 songs added to Brough’s play, including original tune, extracts from popular operas, and college songs. This production was a benefit for the [[athletic_association|Athletic Association]]. The audience was reportedly small, which the //Tablet// attributed to a general prejudice against the genre of burlesque for being “not altogether proper.” ((//The Trinity Tablet//, 1880-05-22)) This was indeed the prevailing attitude of the time, which had grown since the decade prior, such that burlesque shows were no longer quite as socially acceptable as they’d once been. This was primarily due to a shift away from the English form of literary pastiche, and towards raunchier plot lines with less complexity. While burlesque shows in New York at this time had begun featuring scantily dressed women, the all-male Trinity burlesquers were still cross-dressing for the roles of Anne Boleyn, Lady Constance, and Queen Katherine. Management and costuming were outsourced to a locally known couple, Mr. and Mrs. A. B. Bull, who had experience with amateur theater production. An accompanist named Mr. Brainerd traveled from Portland, Connecticut to assist the students in rehearsing for the show several times a week.    On May 18, 1880, Trinity students performed William Brough’s //The Field of the Cloth of Gold//, based on the extravagantly opulent displays of wealth and pageantry at the 1520 summit meeting between King Henry VIII of England and King Francis I of France. The show was made burlesque by more than 30 songs added to Brough’s play, including original tune, extracts from popular operas, and college songs. This production was a benefit for the [[athletic_association|Athletic Association]]. The audience was reportedly small, which the //Tablet// attributed to a general prejudice against the genre of burlesque for being “not altogether proper.” ((//The Trinity Tablet//, 1880-05-22)) This was indeed the prevailing attitude of the time, which had grown since the decade prior, such that burlesque shows were no longer quite as socially acceptable as they’d once been. This was primarily due to a shift away from the English form of literary pastiche, and towards raunchier plot lines with less complexity. While burlesque shows in New York at this time had begun featuring scantily dressed women, the all-male Trinity burlesquers were still cross-dressing for the roles of Anne Boleyn, Lady Constance, and Queen Katherine. Management and costuming were outsourced to a locally known couple, Mr. and Mrs. A. B. Bull, who had experience with amateur theater production. An accompanist named Mr. Brainerd traveled from Portland, Connecticut to assist the students in rehearsing for the show several times a week.   
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 For the next several years, the Dramatic Association primarily occupied itself with performing shorter non-musical plays. A proper burlesque show was not undertaken again until June 1898, when yet another production of “Shakespeare Water-Cure” was put on, nearly a decade after its first two performances. Unfortunately, the production value had declined since years prior. A scathing review in the //Tablet// expressed heartfelt dismay at the selection of songs interpolated throughout this particular rendition of the show. There was no lack of potential in the players, though, as according to this reviewer, the Dramatic Association simply needed to take advantage of its “good material.” ((//The Trinity Tablet//, 1898-06-03)) In June 1903, the Senior Dramatics performed a four-act burlesque comedy entitled “Miss Duzenberry; or, Murder Will Out,” adapted from Eugene Labiche’s French exclusively for the Trinity players.   For the next several years, the Dramatic Association primarily occupied itself with performing shorter non-musical plays. A proper burlesque show was not undertaken again until June 1898, when yet another production of “Shakespeare Water-Cure” was put on, nearly a decade after its first two performances. Unfortunately, the production value had declined since years prior. A scathing review in the //Tablet// expressed heartfelt dismay at the selection of songs interpolated throughout this particular rendition of the show. There was no lack of potential in the players, though, as according to this reviewer, the Dramatic Association simply needed to take advantage of its “good material.” ((//The Trinity Tablet//, 1898-06-03)) In June 1903, the Senior Dramatics performed a four-act burlesque comedy entitled “Miss Duzenberry; or, Murder Will Out,” adapted from Eugene Labiche’s French exclusively for the Trinity players.  
  
-In 1907, the old classic “The Sweets of Matrimony” was brought back by the Glee Club for Senior Week. By this time, however, the vogue of burlesque had mostly worn off, and the production was tinged with an air of nostalgia rather than innovation. By the second decade of the twentieth century, burlesque had been replaced by the zeitgeist with farce and vaudeville. +In 1907, the old classic “The Sweets of Matrimony” was brought back by the [[glee_club|Glee Club]] for Senior Week. By this time, however, the vogue of burlesque had mostly worn off, and the production was tinged with an air of nostalgia rather than innovation. By the second decade of the twentieth century, burlesque had been replaced by the zeitgeist with farce and vaudeville. 
  
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