The Providence news. (Providence [R.I.]) 1891-1906, 1903-09-10
"....1heatres ~. ~.

1t is a peculiarly interesting fact that
vaudeville work is said by those who
| have tried II. TO be vastly more hard
than legitimate work, and the methods
employed are widely different from those
OF any other line Of theatrical work.
There are two artists at Keiths this
week. who are well qualified to give an
opinion about the great difference. and l
was very glad to find them when / stroll
ed around TO Keith's yesterday. They are
! Mr.. Frank Keenan, and Mr. Harry
| Davenport who are both topline fea-
lures OF the bill at Ke.th's this week.
and who are. incidentally, the very best
| OF friends.
Mr. keenan, has been in vaudeville for
practically two years, with occasional
departures from II TO play special en-
gagements with dramatic companies and
his opinion / thought would be of ex-
ceptional interest "A difference? Well
/ should say there is. said Mr.. keenan,
when ] questioned him. Everyone ad-
mits that In the legitimate one de-
pends mostly upon his ability as an
actor although the play and the roll
counts for great deal; but in vaudeville
one must have a vehfcle that pleases the
audience. and II must please a vaudeville
audience. There is all the difference in
the world between a legitimate and
vaudeville audience. They are many
times as appreciative and fully as In
telligent as legitimate audiences, but
they have been educated to expect a GER
tain kind OF attractions and unless they
| get H. the actor scores a failure In
vaudeville one Is allotted so little time
| that every word. every bit OF business
must tell and tell powerfully. We can't
afford to waste a single moment.
| I find that vaudeville people like 10
laugh They will applaud a well-render-
ed bit OF pathos, but they want II fol-
lowed by something which ellcts their
mirth costly experience which proved
this 10 me conclusivcly. happened two
years ago. when I made my first dip
into vaudeville. had been disappointed
In a new play in which ] was to star,
and while waiting for its completion,
decided to accept a vaudeville OFFER had
had from Mr.. Keith's representative. and
produced In Boston an exquisite little
tragedy full Of dramatic situations and
giving excellent opportunities for strong
acting. ] was very much gratifed at
getting seven curtain calls at the finish
OF the act but my elation disappeared
when That evening the management
scheduled me TO appear at a very early
hour OF the hill saying that had killed
the rest OF the bill. The comedians
who had followed me were unable to
awaken the audience. after the bit OF
tragedy. and they claimed that my act
belonged on the legitimate stage instead
OF in vaudeville. Thll shows. as said
before. that only the bright things sue
ceed in vaudeville. and they must be
bright every moment from beginning 10
end
''Do you. too, notice this great differ
ence between vaudeville and the legiti-
mater" I asked Harry Davenport, whom
! 7 hax al
much. particularly In musical comedy
work
Yes. indeed" he replied. lone must.
/ ~ use slang expression. be there
! with the goods from the moment he steps
I upon the stage. You must get the au-
/ diences attention when you make your
/ entrance. and hold II until you leave.
\ Not so I'm the legitimate. When one has
! three acts 10 make good In. he can work
up 10 a climax or a situation and create
\ an interest IN the audience In ones work.
but YOU must strike out boldly from the
very first word In vaudeville. You know
/ this vaudeville work Is big novelty
! 10 me. and am finding II very interest
ing This is my third and last week,
and | find I know more about the pro-
/ fession-and audiences" he added with
twinkle In his eye. than | ever did
| before"
! But you don't like it7" I questioned.
/ "Oh. yes. on the contrary. / do very
/ much | am not leaving because OF any
dislike for a. In fact IL is rather temp
/ tation hard to resist 10 refuse several
/ offers I have had. NO. my reason for
| leaving IL because I begin rehearsals on
| Monday morning for The Girl From
/ Kays a new English musical comedy.
which is 10 he produced with Sam Ber
nard and Hattie Williams In the cast.
/ Somehow I can't get away from musical
| comedy for very long. Like vaudeville? I?
| Well yes, I may say that ! do IL In
| terests me very much. one feels the
[ difference more than he can describe u.
we are more independent In vaudeville.
and rely more upon ourselves. In mu-
steal comedy the orchestra and our fell
low players help a great deal 10 lead
up TO our individual work but In vaude-
Vile we have no one 90 help us and there
IL no time for leading up almost wish
my vaudeville experience could be pro-
longed. but may 80 into it some time
/ I'm the future" At this point the tall.
well-groomed young man rose and ex-
cused himself to DO his act. and muir
nmring n wish that he might re-enter
vaudeville later. the Matinee Girl left
him.
@.
''rhe Heart OF Maryland" will be the
dramatic Offering NJ the Imperial for the
week beginning next Monday. 10 Is by far
2 tho most interesting and effective play
which David Belasco has brought before
tho public No play OF our time has at
tained so popular and extended hearing
nor gained for It's author 80 secure and
brilliant a reputation among the leading