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Combining elements of revue and the musical theatre, revusicals are a theatrical form that relies on a mix of comedy, songs and dance. More conscise than the musical in that it is presented in one act, the revusical also differs from revue through its use of a storyline to hold the various dramatic elements (sketches and improvised scenes) together. The first known revusicals emerged in Australia during World War I as a vehicle for two principal comedians who were supported by a small but versatile ensemble of actors (typically variety performers) and at least six chorus girls who also took on minor acting roles.

Etymology
Between 1915 and the early 1920s, Australian revusicals were called various names, including 'tabloid musical comedy', 'burlesque revue', 'musical dramatic sketch', 'musical travesty', 'miniature musical comedy' and 'musical playlet,' 'revue,' and 'revusical'. Because no over-arching term was applied during these key years, the genre was later confused with 'revue' by Australian theatre historians who incorrectly assumed that productions staged by troupes such as the George Wallace Revue Company involved a series of unrelated songs, sketches and dance staged under an 'umbrella' theme.

The first known use of the term revusical can be traced to an advertisement for Paul Stanhope Burlesque Company's production I'm Sorry (Bijou Theatre, Melbourne) beginning 26 December 1915. The description "burlesque," which interestingly appears in the name of Stanhope's company, was also used by industry heavyweight, Ben Fuller in November 1916 to describe the type of entertainment his newly renovated Palace Theatre (Melb) would soon be presenting. It was still being applied in 1918 to Bert Le Blanc productions like In Old Seville (sometimes in conjunction with "burlesque revue"). The Victor Prince Revusical Comedy Co had its 1916 production of Full Steam Ahead described by the Theatre as a "revue" (The Age newspaper called it a "tabloid musical comedy" in 1917). Similarly Australian Variety's view of the Nat Phillips' Tabloid Musical Comedy Company productions was that they were the best "musical revues" yet seen on the Fullers' circuit. According to Phillips' own text for A Sporting Chance (Nat Phillips Collection), however, it was simply a "sporting comedy" - with no reference to its musical component, possibly because songs, music and dance were essentially a staple of most variety turns (society sketches, patter routines etc) anyway. A later production Yes We Don't (Nat Phillips Collection) is given the more convoluted description "tabloid musical comedy revue" by Phillips.

Why "revue" eventually came to be the dominant term is at this stage open to conjecture. Perhaps the word's brevity (as opposed to revusical) played a part. Revue was certainly the term best fitting the London's current craze for the type of show staged by producers like Oswald Stoll, and later Charles B. Cochrane - although these were more aligned with the American trend towards Follies-style extravaganzas (and as staged in Australia under the Tivoli banner).