The Art of "Putting it Over"
Thus the vaudeville singer who is genuinely interested in the progress of his art has ample time to study new songs and new rôles. In the jargon of vaudeville, everything is based upon whether the singer is able "to put the number over." This is a far more serious matter than one thinks. The audience is made up of the great public—the common people, God bless them. There is not the select gathering of musically cultured people that one finds in Carnegie Hall or the Auditorium. Therefore, in singing music that is admittedly a musical masterpiece, one must select only those works which may be interpreted with a broad human appeal. One is far closer to his fellow-man in vaudeville than in grand opera, because the emotions of the auditors are more responsive. It is intensely gratifying to know that these people want real art. My greatest success has been in Lieurance's Indian songs and in excerpts from grand opera. Upon one occasion my number was followed by that of a very popular comedienne whose performance was known to be of the farcical, rip-roaring type which vaudeville audiences were supposed to like above all things. It was my pleasure to be recalled, even after the curtain had ascended upon her performance, and to be compelled to give another song as an encore. The preference of the vaudeville audience for really good music has been indicated to me time and again. But it is not merely the good music that draws: the music must be interpreted properly. Much excellent music is ruined in vaudeville by ridiculous renditions.