They were preparing for a week of great things in the next town, when Wednesday night a cancellation notice came for that precious week. Something had gone wrong, and the pencilled date had to be rubbed out. Of course, by all the laws of the legislatures that week should never have been rubbed out, because there was a contract fully binding on both the theatre and Mr. Producer. But the week was rubbed out of sight, nevertheless, and Mr. Producer--knowing vaudeville necessities and also knowing that only the most dire necessity made Mr. Booking Manager "do this thing to him"--forgave it all with a smile and was quite ready to get back to town when Monday morning rolled around.

But Monday morning there occurred a "disappointment" at another theatre in a town only a few miles away. The act that was to have played that date was wrecked, or had overslept itself. Anyway.

the resident house manager telephoned to the Booking Offices that he was shy one act. Now it happened that the act that "disappointed,"

was of the same general character as "Success." The Booking Manager knew this, and remembered that "Success" was within a few miles and with an open week that ought to have been filled. Therefore, just as Mr. Producer and Mr. Author were leaving the hotel to join the other members of "Success" at the railroad station. Mr.

Producer was called to the telephone--long distance.

In less time than it takes to recount it, the resident manager who was suffering from a disappointment, and Mr. Producer, suffering from the lack of a playing week, were both cured of their maladies at the same time. And so, instead of going back to town, "Success"

rushed to the next city and played its week.

Now, in this last week of breaking-in, Mr. Author realized one fact that stands out rather prominently in his memory; it is a simple little fact, yet it sums up the entire problem of the show business. Perhaps the rush of events had made it impossible before for the truth to strike home as keenly as it did when there suddenly came to him a tiny little bit of business which made a very long speech unnecessary. He explained it to Mr. Producer, and Mr.

Producer seized on it instantly and put it into the act. That night the act went better than it had ever gone before. This little bit of condensation, this illuminating flash which was responsible for it, "punched up" the big scene into a life it had never had before. Then it was that there also flashed upon Mr.

Author's mind this truth:

A dramatic entertainment is not written on paper. It is written with characters of flesh and blood. Strive as hard as man may, he can never fully foretell how an ink-written act will play.

There is an inexplicable something which playing before an audience develops. Both the audience and the actors on the stage are affected. A play--the monologue and every musical form as well--is one thing in ma.n.u.script, another thing in rehearsal, and quite a different thing before an audience. Playing before an audience alone shows what a play truly is. Therefore, a play can only be made--after it is produced. Even in the fourth week of playing--the first week of metropolitan playing--Mr. Author and Mr. Producer made many changes in "Success" that were responsible for the long popularity it enjoyed. Mr. Author had learned his lesson well.

He approached his next work with clearer eyes.

APPENDIX

NINE FAMOUS VAUDEVILLE ACTS COMPLETE

"THE GERMAN SENATOR," A Monologue, by Aaron Hoffman.

"THE ART OF FLIRTATION," A Two-Act, by Aaron Hoffman.

"AFTER THE SHOWER," A Flirtation Two-Act, by Louis Weslyn.

"THE VILLAIN STILL PURSUED HER," A Travesty Playlet, by Arthur Denvir.

"THE LOLLARD," A Comedy Playlet, by Edgar Allan Woolf.

"BLACKMAIL," A Tragic Playlet, by Richard Harding Davis.

"THE SYSTEM," A Melodramatic Playlet, by Taylor Granville.

"A PERSIAN GARDEN," A One-Act Musical Comedy, by Edgar Allan Woolf.

"My OLD KENTUCKY HOME," A One-Act Burlesque, by James Madison.

A WORD ABOUT THE ACTS

The nine acts which are given, complete, in the following pages are representative of the very best in vaudeville. Naturally, they do not show every possible vaudeville variation--a series of volumes would be required for that--but, taken together, they represent all the forms of the talking vaudeville act that are commonly seen.

THE MONOLOGUE

The German Senator

This monologue by Aaron Hoffman has been chosen as perhaps the best example of the pure monologue ever written. Originally used by Cliff Gordon--continually being changed to keep it up-to-the-minute--it has, since his death, been presented by numerous successors of the first "German Senator." It is doubtful if any other dramatic work--or any other writing--of equal length, and certainly no monologue, has returned to its author so much money as "The German Senator" has earned.

THE TWO-ACTS

The Art of Flirtation

For more years than perhaps any other vaudeville two-act, this exceptionally fine example of two-act form has been used by various famous German comedians. It may be considered to stand in much the same relation to the two-act that "The German Senator" does to the monologue. Its author, also Mr. Aaron Hoffman, holds a unique position among vaudeville and musical comedy writers.

After the Shower

This delightful little example of lover's nonsense was played for more than four years by Lola Merrill and Frank Otto. It has been instanced as one of the daintiest and finest flirtation-couple-acts that the two-a-day has seen. Mr. Louis Weslyn has written perhaps more successful acts of this particular style than any other author.

THE PLAYLETS

The Villain Still Pursued Her

This travesty, one of the most successful on record, was used for years to star Mrs. Frank Sheridan. Written by Mr. Arthur Denvir, whose specialty is travesties, it undoubtedly became the inspiration for the many similar acts that created the travesty-vogue of 1912-15.

The Lollard

Edgar Allan Woolf, who wrote this delightful satirical comedy, is perhaps the most successful writer of playlets in this country.

For many years he has turned out success after success for famous legitimate stars, while still other performers have become vaudeville stars in his acts. Mr. Woolf himself chose "The Lollard" as representative of his best comedies. The star role, Angela Maxwell, was created in this country by Miss Regina Cornelli, and in England by Miss Hilda Trevelyan.

Blackmail

Richard Harding Davis needs no introduction. This remarkable little tragedy was produced for the Orpheum Circuit by Mr. Charles Feleky, who declares it to be "the best tragic playlet I have produced." From so eminent a vaudeville producer, this is, indeed, high praise. The character of Richard Fallon was created by Mr.

Walter Hampden.

The System

Without doubt, this act is the best of the many big productions with which Mr. Taylor Granville has supplied The United Booking Offices of America, during his many years as a producing star.

Mr. Junie McCree, who collaborated with Mr. Granville, was once president of "The White Rats," the vaudeville actors' union, and is now a successful vaudeville writer. Mr. Edward Clark, the third collaborator, has written many successful vaudeville acts.

"The System" is said to have been characterized by Mr. George M.

Cohan as the best one-act melodrama he ever saw. Its extraordinary popularity in this country and in England is but added proof of the tenseness of its scenes and its great ending.

THE ONE-ACT MUSICAL COMEDY

A Persian Garden

Played by Louis Simons season after season, this real comedy set to music is without question Mr. Edgar Allan Woolf's best effort in this field. Unlike the usual musical comedy, this act possesses dialogue interest as well as pleasing brilliancy. It has won its many years of success not because of scenery, costumes and the chorus, but by the sterling worth apparent in the ma.n.u.script divorced from them.