Evening public ledger. [volume] (Philadelphia [Pa.]) 1914-1942, 1920-01-17
THE PLAYGOER'S
WEEKLY TALK
Dissertations on Plays and
PhotoplayS of Interest to
PhiIadelphiUs
T,HoUGH abraham Lincoln" th

water, mas Decn at tne NOrt luedtre' III
New York for a very few weeks, it is
already definitely accepted as fixture
In the American drama. American
critics are already entering the field
of prohescy with the assertion OF an
enduring future for the piece ON nation
alistic grounds. London critics bespoke
permanent fame on its artistic assets:
Recent theatrical announcements apd
rossip offer a more conclusive proof of
the enduring quality of this Briton' $
portrait of our first American. "Abra-
ham Lincoln" has already begun to
stir imitation. 1t has established
cult.
Thanks to the great impression left
by this model-and especially its com
mercial successive may now look TO
see rapid development of the historical
play based on famous American per
sonalities Mr.. Drinkwater himself Is
understood to have in contemplation
plays shaped about General Robert N:
Lee and John Brown. And at least
one New York manager has had sub
mitted to him John Brown play by
an American author. And a well
known playwright has declared his iu-
tention of making General Grant the
hero of another. Mr.. Drinkwater in
his lecture here pointed out the richness
of material for such chronicle plays
in Americas epic history. American
writer's are likely to take cue iron
his hint 1t is only curious that they
should have waited for an Engushman
to show the way. OF course, we have
Fitch wrote one on Nathan Hale"
Elsie Ferguson appeared in Dolly
Madison. Alexander Hamilton"
was interpreted by George Arliss.
Aaron Burr figured in "Blennerhas-
sett." The trouble with these plays
was that they were overwhelmed IN
.'atmosphere. They mistook costume
for character. They were 'period"
plays, not chronicle dramas in the
Elizabethan sense. They We're success
full in exactitude of eXternals and they
were failures in catching and project
ing the inner spirit. They were all
bodily-and soulless. Drinkwater $
drama is richly and fertilely spiritual.
II has a soul. something of the great
soul of the Great Emancipator.
TIME art of writing comedy for the
i stage offers almost unlimited oppor-
tunities for the aspiring playwrightS-ot
whom there are so many in our midst
and the financial reward that follows a
real success is large enough to be at
tractive even to persons already we'll
supplied with worldly dross. There is
probably no one in the United States
today who has better knowledge. of
what light comedy is and should be than
William Collier. Although he is best
known as theatrical star, Mr.. Collier
is also a playwright. He knows the
game. therefore, from the coming and
going angles.
He is the author of manv of the plays
in which he has appeared. In other
successes he has collaborated with the
author and it is pretty well known that
even when the author got the credit for
writing n play for Mr.. Collier the lat
ter has personally put in much of the
laugh material. Mr.. Collier is not sell
fish with his knowledge. In order that
those who are planning to become
famous via the playwright route may
have the benefit of his many years of
experience, Mr.. Collier, who ran up to
town the other day from the shore,
whence he will bring his new comedy,
''The Hottentot.' next Monday for
Philadelphia $ delectation, outlined some
of the <most important principles of
comedy writing for the Playgoer-who
hasn't the slightest intention of adding
TO his professional cares by writing a
comedy. even a light one. though many
of his readers are writing plays or
planning to write them. Doubtless If
the fourteenth deCennial census, now in
process of card indexing and pigeon
holing US, asked for each individuals
secret aspiration. the record would go
either to the budding playwrights or the
prospective movie writer's. What Mr..
Collier said was informing to the Play
goer, who passes on all of it that lin
gered in memory to his friends, who
may find it practical and educational.
''If you would write for the theatre
of that great multitude which seeks re-
Taxation from ovCrwork or boredom, go
out into the highways and the byways
and observe life as it really is.' Mr.. Col
lier said. Study fishermen and bankers,
nursemaids and society women, street
cleaners and chaufeurs. Make close
study of children, young girls, women of
all stations and grandmothers. Study
those who are down aud out, study the
working people as we'll as the idle rich.
All real good plays are the direct result
of observation. Every line in The Hot
tentot' that wins a laugh is the result
of observation of some human being.
''Then don't forget that every play
must have the love element, the eternal
feminine. The average person who leads
n routine life is not comedy character,
unless he or she has some popularity
that makes the individual stand out,
some little habit or mannerism, some
eccentricity of speech or gesture. Even
these must be slightly exaggerated, for
the stage cannot wait too long for the
unfolding of a character.
"a half dozen or more individuals,
each distinct type. must be created and
fixed for the audience, and their careers
worked out IN the space of two hours.
The successful playwright must touch
only the high lights of each character,
giving the spectators the self satisfac
tion of filling in the details. Extreme
types, however, should be avoided. All
of US have met in real life men and
women of such marked eCceutricities
that if they were portrayed on the stage
the average audience would VOW that
such persons never existed. Make your
characters real human beings, people
that the audience can love, like, ad
mire, hate or despise.
"And bear in mind" Mr.. Collier
adjured, that in comedy the element of
surprise is essential. When man is
most serious turn the mood into comedy
by a deft retort or unexpected action.
The sense of humor, above all, is essen
ttal and necessary, because what might
appear tragic to the participant in real
life must be made ludicrous on the stage
by touch Of humor.
Bear in mind that action Is most
Don't write long, tiresome
dialogues, or have some character tell
ia lengthy speeches what has happened.
Make each character have something 10
do that has real bearing on the plot,
that forwards the story and carries out
the scheme TO logical ending. Don't
RxnpCt To succeed with "A DlaV uyrittop