Variety (December 1907)

VARIETY 25 VAUDEVILLE'S THE HARDEST By LOUISE DRESSER. THE SECRET OF SUCCESS By CHARLES ROBINSON. In the beginning let me say (hat anyone who imagines the vaudeville stage is an easy task had better relieve himself of the idea at once. In my opinion vaudeville is the very hardest branch of the theatrical profes- sion. To a spectator it looks easy, and 1 know of several persons who have re- marked in my hearing: "When the com- pany closes in the spring, I think I'll take a little dash into vaudeville." If they only knew what that "little dash'' meant, I'm afraid they would much prefer some cool little spot in the country. The majority never stop to think that they must "make good" with a vaudeville audience in fifteen or twenty minutes, tion and become as serious as any audi- ence seen in the legitimate theatres. If the artists will let an audience see that they are interested in their own work and anxious to please, they can pretty reasonably expect a cordial recep- tion. But if one starts out with the idea of making them like what is being given them, the old story of "All the King's horses, and all the King's men" might be quoted. This is only the beginning of my sec- ond season in musical comedy, and I like it very much indeed. It is entirely different from vaudeville in a great many ways, and yet at times it resembles one large vaudeville show. FRANK COOMBS AND MURIEL STONE IN "THE LAST OF THE TROUPE." Sparkling comedy, bright lines, plenty of net ion, ami sonic iviihii kaltly hlgh-rlaBfl Hinging combine to make up the very attmctlve offering that Is being presented bjr Frank Coomb* and Muriel Mime, probably the best feature being the wonderfully sweet and sympathetic voice of Mr. Coombfl, the well- known minstrel tenor. whereas thev have usually- had previously two hours and a half in which to register a hit. They think almost anything will do for vaudeville, that "the name's the tiling." In many cases this ha,s proven to be a bad guess, for if the possessor of the magic name has not the right material, his or her stay in vaudeville will be lim- ited. The vaudeville audiences are the hard- est—and yet the easiest—to please in the world. They seem to go to the theatre to laugh, and be thoroughly amused, or if the sketch or song be of a serious nature, they are just as quick to grasp the situa- In my opinion musical comedy and vaudeville cannot be compared. They seem so entirely foreign to each other. What will be a big hit in musical com- edy will fall absolutely flat in vaudeville, and the reverse is also true. It would take a much wider brain than 1 possess to draw any comparison. Frankly, I think musical comedy tends to make one more ambitious than vaude- ville. Personally, I have learned a lot from my two seasons' experience, and hope to learn more a,s the seasons go on. I have been fortunate in having such people as Mr. Lew Fields, Mr. Julian I believe burlesque is the greatest schooling a comedian can have in order to reach the top of the ladder. Why 1 say this, the opport unities are so great, for in 80 per cent, of the burlesque shows, co- medians don't have to follow their lines. JUAN A. CAICEDO, "King of the Wire." Now touting America. Rooked on Klaw A: Eiiangef Circuit. Appeared before all the crowned beads of Ku:o;te. Will remain here next season. Now booking parks nnd fairs. Address, 47 W. 28tB St.. New York. The books are very often so bad that the comedians must inject their own dialogue and business to make their parts stand out. Originality is not a study in burlesque; it comes spontaneously to the origi- nator. A great many comedians are satis- lied with what the author hands' them, and the result is they become mechanical; that alone stops all future opportunity. The trouble with a great many is, they worry about how well somebody else is doing, instead of worrying about them- selves. Haul work is success. Very often managers say, '"That fellow works hard, doesn't lie?" Thai is the beginning of marked attention. Every one should try to get the lirst mark; it is tile stepping Stone tO success. Harmony has a wonderful effect in a burlesque company. Very often you will And one who is an agitator, but the clever Mitchell and Mr. John Hoffman to teach me the way to get the most out of line* and situations. The parts I have played have not been large, but I hope to play a big one some day. 1 might be a terrible failure, but I would like to try. Both in musical comedy and vaudeville I have met the truest and best of friends and scores of kind acquaintance*. In both branches we have our "tips and downs," "failure* and successes," "good days and bad.*' Both are hard, both are enjoyable in fact, 1 cannot say more of one than of the other, unless it is that musical comedy is the better field for one who is ambitious to make a name for the years to come. fellow never allows those things to bother him; he is thinking only of his future. A comedian must never lose heart when he finds the audience hard to please. This is especially so on "opening day" (Mon- day or Sunday). The critics are there with a 'T'm from Missouri, show me," look. You can show him if you don't let your confidence fail you. Versatility is in demand from most bur- lesque managers. A comedian must try to keep away from the character of his specialty. He will then find that his act has more effect with the audience. Another important thing is the dressing of a character. Very often I have seen a comedian playing a character, and one could never tell what the nature of the character was. I have also noticed thai at some time" some one in the gallery would make a re- mark. The artist would take it as an in- sult and 'get back" at the audience. Poor judgment. I have always found it better to work on the remark that may be said, and get a laugh from it. That alone will win the audience, and perhaps save a good act that would otherwise have been spoiled. Every comedian should help the minor comedy parts just as much as he would expect them to work up to him. In this way every one is working in harmony and the results are the best. A valuable comedian is the fellow who works for the manager's interests, always having the show at heart; also remember- ing that the man in front may see the faults the man behind may overlook. Sobriety, reliability, hard work and good fellowship is bound to win success, always. "The Original Dimple Sisters" 1)I< K AM) BARNEY FEKGTJ50N Singers, Dancers, Talkers, Comedians, and Acrobatic Ballet Girls Up to Date. "The Dimple Sisters, Dollie and Dottie" "Pretty as a Picture" remembering the lost comedians are from burlesque, and there are plenty of man- agers waiting to fake more. Hugo Ib'i/og has left the variety busi- ness i»»r the commercial pursuit of promot- ing the sale of liquors.