Tom B. Davis, another musical comedy expert, in whose theater “Florodora” was brought out, thinks that the plot is not of supreme importance, but he wants the low comedian woven into the story in such a way that when the lovers find themselves in a predicament the audience shall know that it is he who will help them out. He also deems it advisable that “a dramatic situation shall be led up to in the finale of the first act, in which the baritone and the prima donna shall be the central figures.”
Altogether, Mr. Davis is the most explicit in his rules of any of the bunch, for of the two remaining entries for the Grand’s symposium, Fred Terry—who originally produced “Sunday”—sums up the order in which the interesting factors in a play should be put as, first, Heart; second, Heart; third, Heart, and Cyril Maude, the English Little Minister, confines himself to the statement that he would not choose a gloomy play.
WHO WOULD NOT BE A BOY?
All Things Considered, He Is a Lucky Little Mortal, Though Perhaps He Does Not Always Realize It Until He Has Passed That Age “When Thought Is Speech, and Speech Is Truth.”
THE BOY.
By W. H. Pierce.
I wouldn’t be a single thing on earth
Except a boy;
And it’s just an accident of birth
That I’m a boy;