thumb|An 1890 bookcover showing the harlequinade characters
Harlequinade is an English comic theatrical genre, defined by the Oxford English Dictionary as "that part of a pantomime in which the harlequin and clown play the principal parts". It developed in England between the 17th and mid-19th centuries. It was originally a slapstick adaptation or variant of the commedia dell'arte, which originated in Italy and reached its apogee there in the 16th and 17th centuries. The story of the Harlequinade revolves around a comic incident in the lives of its five main characters: Harlequin, who loves Columbine; Columbine's greedy and foolish father Pantaloon (evolved from the character Pantalone), who tries to separate the lovers in league with the mischievous Clown; and the servant, Pierrot, usually involving chaotic chase scenes with a bumbling policeman.
Originally a mime (silent) act with music and stylised dance, the harlequinade later employed some dialogue, but it remained primarily a visual spectacle. Early in its development, it achieved great popularity as the comic closing part of a longer evening of entertainment, following a more serious presentation with operatic and balletic elements. An often elaborate magical transformation scene, presided over by a fairy, connected the unrelated stories, changing the first part of the pantomime, and its characters, into the harlequinade. In the late 18th and 19th centuries, the harlequinade became the larger part of the entertainment, and the transformation scene was presented with increasingly spectacular stage effects. The harlequinade lost popularity towards the end of the 19th century and disappeared altogether in the 1930s, although Christmas pantomimes continue to be presented in Britain without the harlequinade.
History
16th to 18th centuries
right|thumb|[[John Rich (producer)|John Rich as Harlequin with batte, ]]
During the 16th century, commedia dell'arte spread from Italy throughout Europe, and by the 17th century adaptations of its characters were familiar in English plays. In English versions, harlequinades differed in two important respects from the commedia original. First, instead of being a rogue, Harlequin became the central figure and romantic lead. Secondly, the characters did not speak; this was because of the large number of French performers who played in London, following the suppression of unlicensed theatres in Paris. Although this constraint was only temporary, English harlequinades remained primarily visual, though some dialogue was later admitted.
By the early years of the 18th century, "Italian night scenes" presented versions of commedia traditions in familiar London settings. The basic plot remained essentially the same for more than 150 years. The theatre historian David Mayer explains the use of the "batte" or slapstick and the "transformation scene":