New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1919-02-16
And 7heyDo 1t in Mars, Too!
The Professor-No.

The d. Dwell, he shows her that
Gaboo society people are a bunch Of
takers who don't amount to anything.
tie proves to her that he put it all over
them in everything with no more prep
aration than four lessons from CORE
spondence school. And now you can
guess the end.
The Professor They go back? Is
that it?
The D, O.-Why, sure, Xim and little
Ylq leave Gaboo fiat and go back to
kazoo. This is the last line: Lets go
back to Kazoo now, Ylq, where
birds sing and people have true hearts
and the roses bloom, and where you
can get fresh vegetables" What do
you think of it? It's brand new
The Professor 1t will run an con.
The d. O.-Thanks, but I'll have to
quit talking now and get back to work
I'm sort Of polishing up the joke in the
last act and I've got to find a title
Why, what a chump I've been! I've
got it, You gave it to me.
The Professor-I? What do you
mean?
The d. O.-Why you gave it to me
again and again and | just sat and
cussed you to myself. Don't you see?
The Professor--No
The d. O.-Why the plays going to
be called "Two Plus Two Is Four" It's
perfect. If you'll excuse me now I'm
going to get to work polishing up that
joke in the third act, but if you'll get
in touch with me tomorrow about this
time can tell you about another play
that's got brand new idea. It's about
A littlc girl from the slums that re-
forms a-well, I guess I'd better
tell you about that tomorrow. don't
want to spoil the surprise. Good night
The Professor-Good night. chic
professor goes over to a tool chest in
the corner of the room and takes out
Ratchet. He returns to the table and
demolishes the wireless instrument
Then he goes to bed).
a number of comedians engaged in
musical shows go on the principle,
which seems to have an excellent
foundation, that a bad joke is bet
ter than a good joke. OF course, there
is definite technique in telling bad
jokes. The audience must not be led
to supposed that the actor actually
bit,l. No icl- ,r Ill r.
the sake of the comic effect it is we'll
for him to make an elaborate though
transparent prctcnce that he thinks
the joke is good. This is essentially
the method of two Of the most success
full of modern musical comedy fun
makers. We have in mind Frank
Tinney and Ed Wynn. Tinney, it
may be remembered, would make a
most elaborate preparation for the in
PRODUCTION of his joke, rehearsng al
The prclimlnares with the orchestra
leader. Then, when the witticism came
it would usually be some absurd pur
which gained a laugh less for itselt
than through the amused surprise o.
the audience that so much pains should
have been wasted on such a joke We
remember, for instance, Tinney's joke
about the porter who was arrested
because he would make up the bed
of only those railroad passengers wht
tipped him. The key question, "Bu
what was the charge against you :?
was always long delayed, and when i
came the answer was Berth control.
Wynn has built up almost as elaborat,
a scheme for introducing his jok,
about the lone girl in a great city wh'
goes into a cigar store to get infor
nation The explanation, "Becaus,
they know all the ropes" would prob
ably win the mildest sort Of applause
if it was allowed to stand merely OF
its merits as a pun, but with thu
Wynn technique the line becomes enor
; mously amusing. Since a large par
of Wynn's effective work as hum or
list consists of his own carefully de
J veloped laugh, which seems to spur tn
audience on, we recommend that al
those who are interested in the tech
/ nique of broad comedy see him. H
can prove his case better than we can