New-York tribune., 1921-01-02
Great Plays Are Built ON
Simple Ideas in Which
Imagination Plays a Part

It is a remarkable thing about play
writing that the biggest successes grew
out of a simple thought Frederic
Ishan, the author OF Three Live
Ghosts" which is having q successful
run at the Nora Bayes Theater picked
up newspaper one day and read a
short paragraph about soldier return
ing home after he had been reported
dead by his government. His step
mother had been paid his life insur-
ance and had spent the money. Here
was an awkward situation for the poor
the predicament of his mother, was
/ willing 70 sacrifice himself by remain
ing for the rest OF his life to all in
tent and purposes dead
Mr.. Isham. being a clever novelist.
was quick TO visualize the situations :
and complications that could auise from
a condition Of this kind and wrote tho
novel from which the play was taken.
1t was Max Marcin, a playwright hav-
ing scored q number Of big Broadway
hits, who saw in the novel the posi-
blities of a big comedy hit. He Sc
cured the consent Of the author to
make dramatization of the novel. and
that is how the play came into being.
Mr.. MARGIN, IN discussing the genesis
of plays, said: There is multitude
of plays that wouiu be Knockout hits
which have never been ,torn because
the men and women who can write
these plays lack the courage to work
them out. Every playgoer of ordinary
intelligence has had ideas that could
be woven into L great play. but the fear
that they lack the knowledge to put
their ideas IN proper shape for play
prese ntation has been the deterrent
element. simple idea. capable Of
/ elaboration, that presents opportunities
for the contriving Of complication. hu-
man interest and the development or
suspense IS play in the making
A good idea for a play properly de-
ve!oped is easily worth $4,000. That
Is about the average royalties that
accrue to an author for a successful
play. Many good ideas have been de-
Neloped into plays that were never
produced because the subject matter
of the play was not timely, or the phys
icsl demands Of the play We're far an
beyond the resources of the theater.
There is no telling what the public
wants in the way Of amusement, bat
1t can be safely set down that hu-
man interest story that has the ear
Il&rk of verify and probability. that
bs files solution Of the final outcome
until the very end of the play. can
saleiy be considered d good theatrical
bet. In the development Of an ida the
playwright should always remember
that the audience is seldom Interested
in discussion on the labor subieo
the conflict between labor and capital
and questions of religion.
Another dangerous pitfall in the
development of successful play from
an idea is the airing of propagande
that is interesting only to q limited
class. 1t is well to remember also that
the theater and the play, to thrive,
must have audiences for the gallery
and the balcony as well as the orches-
trs seat
Mr.. MARGIN further advises the men
and women whose ideas are worthy Of
development to remember this: That
nearly every play is made IN the re
writing. blue pencil is handy
thing to have around, and don't be
afraid to cut and slash. The dialogue
should be crisp and human. Avoic
stilted phrases. Let your people talk
as they would !, real life. The more
human your characters are the more
appreciative is your audience