Writing for Vaudeville | Page 4

Hoffman with her big company, or Eva
Tanguay all by herself. This off his mind, the manager lays out his
show--if it is the standard nine-act bill--somewhat after the following
plan, as George A. Gottlieb, who books Keith's Palace Theatre, New
York, shows--probably the best and certainly the "biggest" vaudeville
entertainments seen in this country--has been good enough to explain.
"We usually select a 'dumb act' for the first act on the bill. It may be a
dancing act, some good animal act, or any act that makes a good
impression and will not be spoiled by the late arrivals seeking their
seats. Therefore it sometimes happens that we make use of a
song-and-dance turn, or any other little act that does not depend on its
words being heard.
"For number two position we select an interesting act of the sort
recognized as a typical 'vaudeville act.' It may be almost anything at all,
though it should be more entertaining than the first act. For this reason
it often happens that a good man-and-woman singing act is placed here.
This position on the bill is to 'settle' the audience and to prepare it for
the show.
"With number three position we count on waking up the audience. The
show has been properly started and from now on it must build right up

to the finish. So we offer a comedy dramatic sketch--a playlet that
wakens the interest and holds the audience every minute with a
culminative effect that comes to its laughter-climax at the 'curtain,' or
any other kind of act that is not of the same order as the preceding turn,
so that, having laid the foundations, we may have the audience
wondering what is to come next.
"For number four position we must have a 'corker' of an act--and a
'name.' It must be the sort of act that will rouse the audience to expect
still better things, based on the fine performance of the past numbers.
Maybe this act is the first big punch of the show; anyway, it must strike
home and build up the interest for the act that follows.
"And here for number five position, a big act, and at the same time
another big name, must be presented. Or it might be a big dancing
act--one of those delightful novelties vaudeville likes so well. In any
event this act must be as big a 'hit' as any on the bill. It is next to
intermission and the audience must have something really worth while
to talk over. And so we select one of the best acts on the bill to crown
the first half of the show.
"The first act after intermission, number six on the bill, is a difficult
position to fill, because the act must not let down the carefully built-up
tension of interest and yet it must not be stronger than the acts that are
to follow. Very likely there is chosen a strong vaudeville specialty,
with comedy well to the fore. Perhaps a famous comedy dumb act is
selected, with the intention of getting the audience back in its seats
without too many conspicuous interruptions of what is going on on the
stage. Any sort of act that makes a splendid start-off is chosen, for there
has been a fine first half and the second half must be built up again--of
course the process is infinitely swifter in the second half of the
show--and the audience brought once more into a delighted-expectant
attitude.
"Therefore the second act after intermission--number seven--must be
stronger than the first. It is usually a full-stage act and again must be
another big name. Very likely it is a big playlet, if another sketch has
not been presented earlier on the bill. It may be a comedy playlet or

even a serious dramatic playlet, if the star is a fine actor or actress and
the name is well known. Or it may be anything at all that builds up the
interest and appreciation of the audience to welcome the 'big' act that
follows. "For here in number eight position--next to closing, on a
nine-act bill--the comedy hit of the show is usually placed. It is one of
the acts for which the audience has been waiting. Usually it is one of
the famous 'single' man or 'single' women acts that vaudeville has made
such favorites.
"And now we have come to the act that closes the show. We count on
the fact that some of the audience will be going out. Many have only
waited to see the chief attraction of the evening, before hurrying off to
their after-theatre supper and dance. So we spring a big 'flash.' It must
be an act that does not depend for its success upon being heard
perfectly. Therefore a 'sight'