The vaudeville theatre, building, operation, management (1918)

Record Details:

Something wrong or inaccurate about this page? Let us Know!

Thanks for helping us continually improve the quality of the Lantern search engine for all of our users! We have millions of scanned pages, so user reports are incredibly helpful for us to identify places where we can improve and update the metadata.

Please describe the issue below, and click "Submit" to send your comments to our team! If you'd prefer, you can also send us an email to mhdl@commarts.wisc.edu with your comments.




We use Optical Character Recognition (OCR) during our scanning and processing workflow to make the content of each page searchable. You can view the automatically generated text below as well as copy and paste individual pieces of text to quote in your own work.

Text recognition is never 100% accurate. Many parts of the scanned page may not be reflected in the OCR text output, including: images, page layout, certain fonts or handwriting.

The wisest plan to follow in these circum- stances is one of conservative praise for the show with special mention of such acts as ac- tually have gone well with the audience; ful- some and exaggerated praise should by all means be avoided, for a public cannot be con- tinually exploited by such means. After one or two experiences with reviews found to be at variance with the facts, a general distrust of all reviews is engendered in the mind of prospec- tive theatre-goers. If a theatre have the repu- tation of presenting, week in and week out, shows of a high average of excellence, there is no need for these futile efforts to fool the public. The public is impressed, not only by the in- cident of the moment, but by the molding process continued through a long period of con- sistent effort. The impression gained from a single incident, however, may be almost indeli- ble; therefore the risque in either advertise- ments or stories should be avoided; there is no excuse for conveying the idea that the theatre houses a show for the so-called "live ones." For example, in advertising a group of classical dancers, the fact that their wardrobe is scant should not be featured; rather, the aesthetic and beautiful points should be emphasized—and this may result in securing not only the patronage 226