New-York tribune., 1920-02-01

Musical plays in the early producing
days of George w. Lederer, more than
thirty years ago, were infinitely better
than those that hold the stage on
Broadway now, III the opinion of the
veteran manager. Yet he is not speak
ing like the retired oldtimer, who is
content to rest on his laurels, or on
the laurels of his friends, when he says
this. On the contrary, MIR. Lederer
does not believe that everything good
in musical plays rests with the past,
but is hopeful for the present.
The producer of "Angel Face" now at
the Knckerbocker Theater, which he
will take to London at the close of its
run here, was comparing plays of the
early '90s with current attractions, in
his Office at the New Amsterdam.
THE public then liked comic opera
story plays. Now they want horse
this is because tastes have degenerated
| do not know Perhaps people are
thinking faster now than they did and
want faster moving action plays
Most musical plays have always been
hampered by lack of good librettos,
and for substantial success musical
piece must have a hbretto which tells
a story, Mr.. Lederer believes.
"The people who are competent to
write Ibrettos, or are brilliant enough
to do so, consider it beneath them.
They think their dignity will be low
cred if they write for musical plays,
vet this is the most remunerative form
OF writing for the theater.' the man
who made the Casino famous for its
musical comedies and who introduced
the revue in America said
Consequently they turn to play
writing,' he continued, "and as re
suit the lbrettos are so poor that the
biggest successes are those which have
been made over from old plays. The
musical pieces which lived longest had
for their foundations old plays which
had outlved their usefulness. Madame
Sherry which was produced at the New
Amsterdam and which made million
dollars, had done service as B straight
farce under three different titles, Jane,
My Uncle's VIII and Lend Ne Your
Wife The Pink Lady was taken from
French farce called The Satyr,' The
Merry Widow was rewritten from u
German farce which had originally been
French farce, Three Twins was a
farce which I produced under the title
of Tncog,' and oh, Look was formerly
Ready Money | could cite many more
examples. but these plays stand out,
Take the Gilbert and Sullivan comic
operas, and there is no need for press
ing my argument further. Here are
matchless lbrettos, and after all these
years the plays are still favorites.
Iibrettists today are generally mex
perienced persons who think only OF
lines To carry the play along and over
look the story. Harry b. Smith who
has written librettos for more musical
plays Than any other writer, is an cx-
ception. If only competent writers
A,ant, vol. !,
work, things would be much better
than they are"
Although he has been producer for
thirty-tive years, Nix. Lederer admits
that he started his theatrical career
as boy soprano. In 1873, when ne
was twelve years old, he joined the
company Of The Naiad Queen which
came to Wilkes Barre, Pa. his home
town, and went on the road with it..
Three years later his voice changed
and he returned home to finish his
schooling.
He did not 60 back to the stage after
his school period was over, but became
an author Of short stories instead He
came to New York and sent contribu-
tions to The Boys and Girls Weekly"
and 70 Crank Leslie's Weekly" The
young man-he was less than twenty at
this time-turned to writing bur
lesques, skits and afterpi eces for the
variety theaters. One of his burlesques
was The Two Of-Ons," a travesty on
The Two Orphans"
''In those days every variety tneater
closed its performance with an after
piece. in which all the variety actors
who did turns in the olo' took part.
Often they would not get their lines
until the morning Of the day the after
piece was put on, Many OF the after.
pieces have served as bases for later
plays"
Next Mr.. Lederer became news
paper man, first as assistant and then
rs dramatic critic of The Morning
Journal" in the Albert Pulitzer regime.
His managing editor was J. |. c. Clarke.
who has written several plays and is
now publicity director of the Standard
OIL Company But the attraction OF the
theater was too strong for him and he
went back TO it, not as an actor or
writer. but as a producer.
With his partner. Tom Canary. he
took over the lease OF the Casino Thea
ter, and their first production there
was q comic opera, princess Nicotine"
IN which Lillian Russsll was starred.