Interesting essay on some possible influences on Happy Days by Samuel Beckett.
In 1925 Samuel Beckett was reading modern languages at Trinity College. Is this Happy Days a lost source for his own play of the same title? It has always been assumed that Beckett named his 1960 drama after the hit song of 1929, “Happy Days are Here Again”. But the dates and location lend weight to the earlier entertainment as well. Might Winnie in her faltering performance of optimism be a grim reworking of those “happy-go-lucky girls”? After all, one of Beckett’s abortive titles for his Happy Days was “A Low Comedy”.
But what is the likelihood that Beckett joined the Olympia’s boisterous audience, or even saw the listing in the Times? When James Joyce said in 1903 that “the music hall, not Poetry, [is] a criticism of life”, Dublin was awash with musical farces and other variety entertainments. Twenty-odd years later, music hall was a dying art. Deirdre Bair, Beckett’s first biographer, nevertheless writes that he made a habit of frequenting the Olympia and the Gaiety, as well as the more genteel Theatre Royal, a taste he did not outgrow when living in Paris after he had graduated from Trinity. He discovered the French strain of music hall, which derived from café concert, at the Bobino, attending “frequently, even in the afternoons, and nearly always by himself”.
Noting Beckett’s enthusiasm for these entertainments is not new; neither is spotting how they colour his work.