Evening star., 1907-05-05
<<E TOAH's ARK" is the sort Of a
$$N show of which 1t would be
a pleasure to write instant,
complete and overwhelming

II
a pleasure to write instant,
complete and overwhelming
success" 1t has the ear
marks of intelligence and comedy sense.
qualities which are strangely lacking in
most musical productions. There Is
vivacious originality In the idea which
makes the show read splendidly IN the ad-
vance notices and look highly promising on
the program. But when the curtain rises
and the scenes unfold, the unconventional
strokes of humor somehow fall TO score.
BY every rule of measurement some OF the
effects ought to be comic, but they are
not and the attention fastens itself with
amusement and relief on some time-hon-
ored device. Harry Buger is evidently one
of those comedians who keep gripsack
full of what Is known to the trade as
"sure-fire" material. And when he reached
into 1t and dragged forth the line But
outside of that I'm all right" he made
good capture; for it is one OF the most re-
liable things that he does.
This so-called "sure-hre' material is
what counts after all. This idea that the
public Is sitting up nights grieving for
something original Is mistake. A large
proportion of the theater patronage is in
attendance because of certain hungering
In human nature to get into crowd. 1t Is
the gregarious instinct Then, too, there
Is love of expression which runs through
all animal life. Everybody loves to make
some sort of a noise in the world, and
many of us attend the playhouse merely
for the privilege of clapping our hands and
laughing aloud. But there are certain
rules to be observed. 1t Is matter of
great embarrassment to be found laughing
in the wrong place. When George Bernard
Shaws comedies first came out 1t was
enough to shock an entire theater IL any
one ventured an audible chuckle at the
mock-melodrama he so ludicrously en-
ployed Those who did not perceive the
fun were simply mystifed, and those who
did were restrained through respect for
popular opinion from laughing at 1t. SO
the comedies were failures. Since then the
public has learned that it Is quite permis-
sible to laugh aloud at Mr.. Shaw, and his
plays have prospered. He learned to in
troduce certain ''sure-fire material; set
signals which convey the information
that audible enjoyment Is at this point
permissible. There are certain stories. GER
tain Jokes and certain comic situations
which will survive through all time as
basic quantities. The public regards them
much as the servants of Squire Hardcastle
regarded the story of "Old Grouse in
the Gun-room." For his other anecdotes
they could promise an air of indifference,
but at this one they would positively be
obliged to laugh 1t was their custom-a
thing of second nature, which would tri-
umph over reason or personal inclination
The art of writing musical comedy ap-
pears to depend largely on a judicious use
of this sure-hre material. very little
novelty goes long way, as was evidenced
hyyt ba which single
feature provided by the sextet in Flora
dora" won for the entire performance. A
really new idea is a difficult creature to
handle. Nobody understands its exact
nature and habits. 1t is like strange pet
In the menagerie-its rearing requires the
utmost care. 1t has few friends rule
amongst either managers performers,
and after 1t reaches maturity the chances
are that the public will pass II by and be-
stow its favor on the familiar friends of
its youth. The theory that the public is
claunoring for novelty Is one which people
foster In connection with the assumption
that we are living in a wonderfully smart
and progressive era But the idea Is largely
delusion. Smart and progressive the
world doubtless is in more material matters,
but its appetite for comedy is still at the
treacle and sugar-plum stage.
There Is q strong chance that "Noah's
Ark will be one OF the successes Of next
season. Every admirer of its fetching little
melodies hopes so. Julian Mitchell doctor
OF musical comedies. has been called into
consultation. 1t wac he who. staged THE
Wizard of o." And Babes of Toyland,"
after a somewhat doubtful Introduction,
flourished as one of the noteworthy ex-
travaganza successes under his care and
iS
of material In ''Noah's Ark that is far too
good to be shelved.
The producing managers OF the country
have at last taken practical notice of the
enormous influence which vaudeville has
exerted on the theater. They are going
Into vaudeville themselves. The evolution
In this style of entertainment has long
since resulted in a development far beyond
Its original form, when 1t was little other
than a variety entertainment at which
smoking and drinking We're prohibited. How
much further 1t will go is a matter of in
terest. The determination has been ex-
pressed to develop playwrIghts and per-
formers TO provide a legitimate element in
vaudeville, and 1t may result in the pres
entation OF several short plays in a single
evening, as Is the practice in a number of
European theaters. Belasco himself has
announced his intention Of writing for the
vaudeville stage This determination may
be due to desire to compete at every
turn with those theatrical interests with
whom he Is upon frankly avowed terms of
tnmity. The reports of an amalgamation
between the Shuberts and the Klaw a
Erlanger syndicates looked as II Mr. Be-
iasco were out In the cold. But he is not,
He is as confidently aggressive as ever in
his proclamation-not out in the cold: only
In hot water. And Belasco loves hot wa
ter. 1t is his natural element
PHILANDER C. JOHNSON.
DAUGHTER OF A VETERAN ACTOR