But do not make the mistake of trying to patch together a comedy playlet from the bits of funny stage business you have seen in other acts. If you present such a ma.n.u.script to a producer you may be very sure it will be refused, for there are plenty of producers and performers in vaudeville who can supply such an act at a moment's notice from memory.

The sort of comedy expected from the playwright is comedy that develops from situation. It is in the invention of new situations and new business to fit these situations that the playlet writer finds his reward in production and profit.

5. Entrances, Exits and the Stage-Cross

Among the many definitions of drama--frequently misleading, but equally often helpful--there is one which holds the whole art of play writing lies in getting the characters on the stage naturally and effectively and getting them off again--naturally and effectively.

But, even the most daring of definition makers has not yet told us how this is to be accomplished in all cases. The fact is, no one can tell us, because a method that would be natural and effective in a given playlet, would very likely be most unnatural and ineffective in another. All that can be said is that the same dramatic sense with which you have constructed the story of your playlet will carry you forward in the inevitable entrances and exits. How these moments are to be effective, lies in the very nature of the story you are telling. This is boldly begging the question, but it is all that may with honest helpfulness be said.

However, regarding the stage-cross, and allied movements of the actors, there are two suggestions that may be helpful. The first is founded on the old theory that a scene ought to be "dressed"

all the time--that is, if one character moves across the stage, the other ought to move a little up stage to give him room to cross and should then move down on the opposite side, to keep the scene dressed or "balanced." But no hard and fast rule can be given, even for the stage-cross. If it seems the easy and natural thing for the characters to do this, all well and good. But you should feel no compulsion about it and really should give to the matter but little thought.

The second is based on the common-sense understanding at which you yourself will arrive if you will take the trouble to notice how the slightest movement made by one of two persons to whom you are telling a story distracts the other's attention. Briefly, never indicate business for a character during the moments when short and vitally important speeches are conveying information to the audience.

Both of these minor suggestions may be summed up in this sentence with which I shall dismiss the subject: The box sets in which the playlet is played in vaudeville are usually not very deep and are so arranged that every part of the scene is in plain view from practically every seat in the house, therefore you may forget that your story is being played in a mimic room and may make your characters move as if the room were real. If you will only keep in mind you should have little trouble.

6. How "Business" is Indicated in Ma.n.u.script

In the old days before the boxed set, the ma.n.u.script of a play bristled with such cryptic signs as R. U. E., and L. F. E., meaning, when reduced to everyday English, "right upper entrance," "left first entrance," and the like. But as the old "entrances" of the stage have been lost with the introduction of the box set, which closely mimics a real room--being, indeed, a room with the fourth wall removed--the modern stage directions are much simpler. "Right door," "centre door," "left door," are the natural directions to be found in a playlet ma.n.u.script today.

It is a good general rule to avoid in your stage directions expressions which show you are dealing with a stage scene and not a scene of real life. In the first place, if you attempt to be technical, you are very likely to be over-technical and confusing.

In the second place, you will be more likely to produce a life-like playlet if you are not forever groping among strange terms, which make you conscious all the time that you are dealing with unreality.

Therefore choose the simplest directions, expressed in the fewest possible words, to indicate the effects you have carefully thought out: Never forget that reality and simplicity go hand in hand.

And now it may be of advantage to sum up what has been said about stage business in this chapter. We have seen how business may be used to condense the story of a playlet; how business is often--though not always--the very heart of the dramatic; how pantomime may be skillfully used to condense salient parts of the playlet story and illumine character; how business may be employed to break up a clumsy but necessarily long speech--thus sometimes saving a playlet from the failure of the tedious;--and why business is more productive of comedy than is dialogue. We have concluded that the playlet writer must not ape what has already been done, but can win success only in the measure he succeeds in bringing to his playlet new business which makes his new situations all the more vivid and vital. Finally, we have seen that entrances and exits must be natural and effective, and that all stage business should be conceived and thought of and indicated in the ma.n.u.script as simple expressions of reality.

With this chapter, the six elements of a successful playlet have been discussed from the angle of exposition. In the next chapter I shall make use of all this expository material and shall endeavor to show how playlets are actually written.

CHAPTER XVIII

WRITING THE PLAYLET

While it is plain that no two writers ever have, nor ever will, go about writing a playlet in precisely the same way, and impossible as it is to lay down rules which may be followed with precision to inevitable success, I shall present some suggestions, following the logical order of composition.

First, however, I must point out that you should study the vaudeville stage of _this week_, not of last year or even of last month, before you even entertain a germ idea for a playlet. You should be sure before you begin even to think out your playlet, that its problem is in full accord with the very best, and that it will fit into vaudeville's momentary design with a completeness that will win for it an eager welcome.

You should inquire of yourself first, "Is this a comedy or a serious playlet I am about to write?" And if the latter, "_Should_ I write a serious playlet?"

One of vaudeville's keenest observers, Sime Silverman, editor of Variety, said when we were discussing this point: "n.o.body ought to write a tragic or even a serious playlet who can write anything else. There are two or three reasons why. First, vaudeville likes laughter, and while it may be made to like tears, a teary playlet must be exceedingly well done to win. Second, the serious playlet must be so well done and so well advertised that usually a big name is necessary to carry it to success; and the 'name' demands so much money that it is sometimes impossible to engage an adequate supporting cast. Third, the market for tragic and serious playlets is so small that there is only opportunity for the playlet master; of course, there sometimes comes an unknown with a great success, like 'War Brides,' [1] but only rarely. Therefore, I would advise the new writer to write comedy."

[1] Written by Miss Marion Craig Wentworth, and played by Olga n.a.z.imova.

Miss Nellie Revell, whom B. F. Keith once called "The Big Sister of Vaudeville," and who was Vaudeville Editor of the New York Morning Telegraph before becoming General Press Representative of the Orpheum Circuit, summed up her years of experience as a critic in these words:

"The new writer should first try his hand at a comedy playlet.

Then after he has made a success of comedy, or if he is sure he can't write anything but sobby playlets, let him try to make an audience weep. Vaudeville, like any other really human thing, would rather laugh than cry, yet if you make vaudeville cry finely, it will still love you. But a serious playlet must be mighty well done to get over--therein lies a stumbling block sometimes. A few great artists can make vaudeville sob finely--but only a few.

Comedy, good comedy, always gets by.

"How many comedy playlets are there to one serious playlet in vaudeville? I should say about ten to one. That ought to convince anybody that comedy is the thing to write for vaudeville."

There have been many hybrid playlets which have combined tragedy and comedy to give some particular star an opportunity to show versatility in acting. [1] But some of these playlets have been merely vehicles for a personality, and therefore cannot be considered in this discussion.

[1] See Chapter XII, section II, topic 2.

On the other hand, there have been some serious playlets which have had comedy twists, or a light turn, which brought the curtain down amid laughter that was perfectly logical and in good taste.

An example of the surprise ending that lightens the gloom is found in "The Bomb," finely played by Wilton Lackaye, in which the Italian who so movingly confesses to the outrage is merely a detective in disguise, trapping the real bomb thrower--and suddenly he unmasks.

If a serious playlet can be made to end with a light touch that is fitting, it will have a better chance in vaudeville. But this is one of the most difficult and dangerous effects to attempt.

The hazard is so great that success may come but once in many efforts. [2]

[2] See Chapter XIV, section II, topic 3.

Since comedy should be the new writer's aim, the following discussion, while conceived with the broad view to ill.u.s.trate the writing of the playlet in general, brings into particular prominence the writing of comedy.

I. WHEN TO BEGIN

When should you begin to write your playlet? a.s.suming that you already have a germ idea, the next step is to express your theme in a single short sentence, and consider it as your playlet problem, which must be proved logically, clearly and conclusively. To do this you must dovetail your incidents into a playlet plot; but how far should you think out your playlet before beginning to set it down on paper?

1. The Use of the Scenario

Nearly all the playlet writers with whom I have talked during a period of more than five years have with surprising unanimity declared in favor of beginning with the scenario, the summary of the dramatic action. But they disagree as to the completeness with which the scenario should be drawn up.

Some merely sketch the main outlines of the plot and leave to the moment of actual writing the details that often make it a success.

Others write out a long scenario, boiling it down to the essence for the stage version. Still other playlet writers carry their scenarios just far enough to make sure that they will not have to think about the details of plot when they set about writing the dialogue--they see that there is an effective reason for the entrance of each character and a clear motive for exit. But, however they disagree as to the completeness the scenario should show, they all agree that the plot should be firmly fixed in its general outlines before pen is set to paper.

It may be of suggestive value as well as of interest to point out that in olden times the scenario was the only part of the play the playwright wrote. The groundwork of the plot was fixed beyond change, and then the actors were permitted to do as they pleased within these limits. Even today, in the construction of hurried entertainments for club nights at the various actors' club-houses, often only the scenario or general framework of the act is typewritten and handed to the performers who are to take part. All that this tells them is that on some given cue they are to enter and work opposite so-and-so, and are, in turn, to give an agreed-upon cue to bring on such-and-such a performer. In a word, the invaluable part of any dramatic entertainment is the scenario.

One valuable aid to the making of a clear and effective scenario is the use of a diagram of the set in which the act is to be played.

Reference to Chapter IV, "The Scenery Commonly Found in Vaudeville Theatres," will place in your hands a wide--if not an exhaustive-- range of variations of the commonly found box sets. Within the walls of any one of these diagrams you may carefully mark the exact location of chairs, tables and any other properties your action demands. Then, knowing the precise room in which your characters must work, you can plot the details of their movements exactly from entrances to exits and give to your playlet action a clearness and preciseness it might not otherwise possess.

2. The Scenario not an Unalterable Outline

But there is one point I feel the necessity of emphasizing, whose application each one must determine for himself: While you ought to consider your scenario as directive and as laying down the line that should be followed, you ought not to permit your playlet to become irrevocably fixed merely because you have written your scenario. It is often the sign of a dramatic mind, and of a healthy problem too, that the playlet changes and develops as the theme is carefully considered. To produce the very best work, a scenario must be thought of as clay to be molded, rather than as iron that must be sc.r.a.pped and melted again to be recast.

II. POINTS TO BRING OUT PROMINENTLY

This section is so arranged that the elements of writing discussed in the preceding chapters are summarized, and the vital elements which could not be considered before are all given their proper places in a step-by-step scheme of composition. The whole forms a condensed standard for review to refresh your memory before writing, and by which to test your playlet after it is written.

Every playlet must have a beginning, a middle and an ending. The beginning must state the premises of the problem clearly and simply; the middle must develop the problem logically and solve the entanglement in a "big" scene, and the ending must round out the whole satisfyingly--with a surprise, if fitting.

1. Points the Beginning Must Emphasize

Because the total effect of a playlet is complete oneness, there lie in the "big" scene and in the ending certain results of which the beginning must be the beginning or immediate cause. Such causes are what you must show clearly.

(a) _The Causes before the Curtain Rose_. If the causes lie far back in events that occurred before the curtain rose, you must have those events carefully and clearly stated. But while you convey this necessary exposition as dramatically as possible, be sure to make the involved dramatic elements subservient to clearness.

(b) _The Causes that Occur after the Curtain Rises_. If the causes do not lie in the past, but occur after the curtain rises, you must show them as clearly occurring right then and there. They must be as plain as dawn, or the rest of the playlet will be shrouded in the darkness of perplexing doubts.