The San Francisco call., 1903-01-11

hne scientific points
involved IN the
building OF q musical
A show, and wish onaN ~
helf OF the people who tbf7tN
they can write a comic oper.
realized this fact.
a wave OF the writing habit
Gems 70 have gone over this coun-
Ts curing the last year or two
ana IN almost every place that I ap-
pear II Miss Simplicity" I nnd two or
lhree aspiring young authors who
' sylay me With strenuous urgencies
70 read e ibretto. Realizing that not
much Is required IN a libretto IN the uav
OF story. these ambitious young people
seem 70 think that all that is necessary is
clever dialogue and witty lyrics.
As matter OF fact. IL Is much more dlf-
hcu-t 70 turn out satisfactory lines and
songs than Il is 20 provide a good story
20 q plot: but even a libretto that com
bines ell three OF these elements in ac-
oeptable shape IS almost sure TO be irnpos-
fible, owing 70 the authors lack OF knowI-
edge a the intricate and difficult subject
of construction.
Few people have any notion Of the thou
sand and one crafty little tricks that are
employed by the experienced writer OF H.
brettos and composer Of music before
thelr joint work IS ready to turn over to a
manager for production II. by pointing
out few of the mysteries Of "construc-
sion 20 inexperienced authors Of musical
pieces I can secure some reprieve from at
tempting 70 read the absurd things that
are handed 10 me everywhere I 90, I shall
he very glad 10 have spoken.
The book and lyrics are usually complet-
I'd before the composer starts TO work
upon his music, but long before they are
written several other very important
things have 10 be done by the lfbrettist.
-
piece Is Influenced by whether II is TO
have for its Leading character a comedian
or a prima donna II il is the former, the
comedy element must predominate. and
TIE writer may revel with much more
freedom in the realm of the ridiculous II
prims donna IS 10 be the central figure.
the piece must be more romantic and le-
gitimate In its atmosphere.
With the particular comedian or prima
donna Tor whom the piece IS being written
in his mind. the ubrettist. even before he
knows what his story is 70 be Ike, will
usually decide upon what sort OF a char
aCter he is going TO give the star. Some
prima d0nnas appear to the best advan-
tsEe in roles which require them to be
merely coy and winsome. while others,
who find II judiciOus 10 use tights as an
adjunct 10 their art. must be given swash-
huckling roles, IN which they are obliged
n disguise in masculine attire, this is
the only logical excuse whereby a woman
can assume the doublet and hose. Or il
the star is q comedian. the author has 10
consider whether he IS a man who viii be
best fitted with a part that will permit OF
unlimited clowning and slap-stick busi-
ness. or one who can make fun more le-
F1timstely by using his brain instead Of
merely his anatomy
The next point 10 cover Is the locale
and period. and no matter what the pc
~71od dct
after tomorrow" like Miss Simplicity.
or back 20 the days Of Robin Hood. the
surroundings and circumstances must be
Euch that the mise en- scene viii he pic
turesQUe and unique ana cOiOrful. Picto-
rial value Is as important an element OF q
musical piece as the music Itself. for there
IS an unwritten but unbreakable law thai
requires offerings Of the musical stage 4
appeal not only 10 the ear but 10 the
eye. IN choosing the time and place foT
his piece. the lfbrettist gives attention e
the beauty and ouaintness Of the cos
tunes. the possibilities for striking effet [:
in q scenic way, and the opportunities tha'
ere ant 70 arise for his leading character
% do queer and uDroarious things after
the accepted manner OF the comic opera
outiendishness.
All this time the story has. OF course
been assuming shape, but II IS not ye
tine 20 begin 10 write. First. the acts anC
scenes must be arranged, and they mus
be arranged so as to be effective To le
the company appear in changes Of cos
tune. the author must arrange FOR the
characters 70 be seen IN different places
and z change Of scene or two always adds
10 the value and attractiveness OF the pro
6Uction.
with the building UP Of the story, the
Characters come Of themselves into tht
authors view. These must be catalogued
rr-hf no de
pended upon for the fun and which foi
the vocal effects. Not much IS usually re
CURED o. & comedian IN the singing line
sou know. IN every musical piece. wheth
er the star be a comedian or a prima
Gonna. Il Is always necessary 10 nave
more OF less Of an attempt at q loV'
story. IS love and fits attributes-in add
ton 10 having been through all the age
tie key 20 the heart and the pocketboot
o. the dear pubic-serve the puZzlinS
llhrettist IN an even more practical way
hv providing the numerous excuses anc
motives Tor the carrying on Of his com
plicatiOus and action. And. besides. whal
z hCartless piece IL would be II thers
weren't at least two or three dainty lyrics
q love TO be sung during its progress
Ard so in every comic musical piece you
VIII find love story.
j isn't until he has this love story anC
the things that are 10 keep the course oi
II from running smooth clearly in hi,
mind. and until he has arranged the rela
tionship Of his chsracte that the lIDret
tist begins TO ''Ibret." He may hav.
written countless notes, memoranda anC
stray lines before. Now he can really
begin 10 write the piece as he wants II I,
be spoken and sung
FIRST OF all. he writes merely the stor,
IN dialogue. in doing this he provides 20
all Of the entrances and exits and tn
eDeeches that introduce or accompan,
them. as well as for the lines that lea'
up 10 his important situations. lie coin
lis gags" works UP his funny scenes
and writes the speeches that are to In
troduce or make excuses for his lyrics.
Then he comes 10 the hnales of his acts
And oh those nnalesi That's where h
will find himself splashing around an
trying 10 feel bottom, II he hasn't 60