Can you be taught how to write for vaudeville? If you have the native gift, what experienced writers say about its problems, what they themselves have accomplished, and the means by which it has been wrought, will be of help to you. So much this book offers, and more I would not claim for it. With nine complete examples of various vaudeville forms by Richard Harding Davis, Aaron Hoffman, Edgar Allan Woolf, Taylor Granville, Louis Weslyn, Arthur Denvir, and James Madison
o 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 agai