The Birmingham age-herald., 1910-11-17
vanderhayden Fyles in the Metropol-

Vanderhayden Fyles In the Metropol-
 itan.
 THE late Charles H. Hoyt may be
 said to have written his farces
 1 almost wholly after presenta ton. Apparently he could round out his creation satisfactorily in no oth- CT way. MT. Hoyt put his play on the stage in a rough original. For this he chose an obscure city. A tour of the small towns followed. The au- thor travelled with the company. Every evening he watched the performance and its effect. As he and the players moved on to the next "stand' he cut out or wrote in new scenes. Rehears ing the changes in the morning of the following day, he passed judgment on what he had done in the evening. In such a way were such enjoyable frivol- tiles as "A Trip to Chinatown" and "A Milk White Flag" built up.
 Most theatregoers recollect the scene hatssbruoght the first act of "A Texas Steer" In an uproarious close. The fact Is, it was not in the farce at all until almost the end of the "try out" 
 the company assembled on the Newport wharf for their next jump" An idea came to MT. Hoyt for a novel climax. Steadying his paper and pencil against a hawser post he jotted down the en- tire scene while waiting for the boat.
 Of course, such a methodless method Is rather to be expected In plays of frivolous character One of the last burlesques Pete Daley appeared in was by Glen McDonough. It went badly on the first night of the preliminary tour. The company boarded a train for the next stand" Author and star kept the actors up all night-that is, such of them as figured in a new climacteric scene which MT. McDonough wrote while MT. Daley rehearsed it in the aisle of the sleeping car.
 But "Pete" Daley was of that school of ready wits that made Weber and high water mark in the history of bur lesque. Only people intimate with the making of those entertainments realize how much credit was due to Edgar Smith, the librettist; yet many of the best scenes grew fabulously after he had done with them. No better illustration comes to mind than the travesty on bank ing methods in which Sam Bernard with his unforgetable query: Put in or take out?'-and Lew Fields bamboozled the guieless Weber. That scene was came the '1augh hit" of the season -s1.. that is because it was then given only C , night. David Warfield was at that | time the stage companion of Weber and | Fields. and he somehow failed to gel | the fun out of his essential third. Sc the scene was set aside until Bernard rejoined the company. He and Fields and Weber developed 1t with ther spon. taneous gags and repartee until i iran" almost 30 minutes. That was mucr l too long, and from time to time tho actor-managers sent an adviser "arount in front to suggest what lines nigh best be sacrificed. Yet no sooner would | the travesty be cut to right proportion: than it would begin to expand one, | more.
 l I recollect the inauspicious birth of
 Weber and Fields scene hardly les memorable as a laugh provoker. Tn
 August night was given over to thu final dress rehearsal of the typical, long
 heterogeneous first part MT. Smith
 .sbook" called for Weber, Bernard an, | Fields to leave the stage as Fritz VII Hams, most jauntily garbed, came on t
 await Miss Lillian Russell All wen
 well until Miss Russell's cue There
 upon there was a long stage wait.
 Finally the prima donna came from he dressing room, lace peignolr throw
 over her partially incomplete costume
 "I dressed as quickly as l could." sail
 the always amiable Miss Russell; "bu
 I simply cannot make the change i
 that time"
 Author, stage manager and actors go
 together. MT. Smith asked Miss Russo how quickly she could make the chang oi gown. She did not know-at leas