Omaha daily bee. (Omaha [Neb.]) 187?-1922, 1910-10-09
One
Act Plays
in Vaudeville

.gADERS OF The Bee were given
recently an argument by George
Beban in support OF the serious
short play on the vaudeville
n stage; this week they have the
views Of VIII NJ Cressey to the
contrary. The arguments presented by
these gentlemen are worthy OF note for
each represents in himself the highest
standard Of the art he defends While the
question has two sides. and each has been
ably presented, the experience Of the vau-
deville managers has been in favor OF the
Cressey end OF the proposition. Everything
that is said in behalf of the serious in drama
and its adaptability to the uses OF the short
play may be admitted, but the question
turns not on this, but on the
adaptabIHy of the short play to the
needs OF tS4 variety threaten. To succeed
any play'gaAst be presented TO the audience
under proper conditions. Unless the au-
dience be in the receptive mood, the mes
sage of the play is lost. Is 1t possible TO
establish this mood I'm the short time that
Is allotted for the presentation Of play in
a vaudeville theater, as they are today con-
Quoted? The answer TO this one seems
easy; the physical as well as the psyche
logical difficulties are so great that it is al
most impossible to accomplish the desired
end.
Certain basic principles I'm bodybuilding
are fixed and immutable. They must be
followed, ana rlgidly, II the play Is to be
coherent in its entirety. and Of service as
conveying either instruction OF amusement.
The play must begin, and Il must end Il
must proceed by regular graduation to its
climax, and then Il must descend naturally
TO its conclusion; and the perspective and
proportion must DO maintained at all times.
This is/possible even In a one-act play.
Many Of the short ,.ramas are constructed
on rigidly correct lines, and have been pre-
scented with powerful effect. But their pre-
sentation has always been under such con-
diuons as made possible the results. The
audience is hushed by its surround
ings, by the music, lights and
other influences OF the theater, until II IS
ready for the message OF the play. Then
the drama. carefully prepared. is glven II
builds up incident on incident situation on
situation, TIL tho structure is complete. and
the spectator Is given the fun story, with
nothing to distract his attention, and the
effect is achieved. But for the most part
the one-aot play Is fragmentary and lncom-
plete, and leaves untold so much that is es-
sential 10 proper dramatic action that II is
not popular, and Is rarely resorted to, even
by the most capable Of actors When Il
comes to adapting this form OF dramatic
oppression 10 the needs OF vaudeville, the
comedy must OF necessity be adhered TO-
The reasons for this are obvious.
Actors OF abihty often are lured 5y
the temptation Of high pay to try a short
season in vaudeville. presenting some ON,
or another of their popular successes In
tabloid form. These excursions" descents'
Is the word the critics use-are usually
failures, for. after the novelty wears off
al the end OF the second week as a rule
the star tires OF the audience. and the
audience OF the star and Art scurries back
70 the prouder and higher-priced theater
leaving the vaudevillians 20 enjoy thell
own sort OF amusement In their own way
one OF the saddest sights carried in mem,
DRY is that OF Lawrence Irving and hli
wife, presenting a really beautiful anC
arusteslly impressive sketch on the stag,
Of the American Music Hall IN Chicago
IL was a story OF Paris In the days OF
Louis NJ, and Mr. Irving PLAYED the
king. but Il came between song plug
ser and 4 dog act and the effoct VA