Writing for Vaudeville | Page 2

he must build into his own structures,
and sympathetic helpfulness throughout. I count it an honor to have
been the editorial sponsor for a pioneer book which will be soon known
everywhere.

J. BERG ESENWEIN

WRITING FOR VAUDEVILLE

CHAPTER I
THE WHY OF THE VAUDEVILLE ACT
1. The Rise of Vaudeville
A French workman who lived in the Valley of the Vire in the
fourteenth or fifteenth century, is said to be vaudeville's grandparent.
Of course, the child of his brain bears not even a remote resemblance to
its descendant of to-day, yet the line is unbroken and the relationship
clearer than many of the family trees of the royal houses. The French
workman's name was Oliver Bassel, or Olivier Basselin, and in his way
he was a poet. He composed and sang certain sprightly songs which
struck the popular fancy and achieved a reputation not only in his own
town but throughout the country.
Bassel's success raised the usual crop of imitators and soon a whole
family of songs like his were being whistled in France. In the course of
time these came to be classed as a new and distinct form of musical
entertainment. They were given the name of "Val-de-Vire" from the
valley in which Bassel was born. This name became corrupted, into
"vaux-de-vire" in the time of Louis XVI, and was applied to all the
popular or topical songs sung on the streets of Paris. Then the
aristocrats took up these songs and gave entertainments at their country
seats. To these entertainments they gave the name of "vaux-de-ville,"
the last syllable being changed to honor Bassel's native town [1] And
gradually the x was dropped and the word has remained through the
years as it is to-day.
[1] Another version relates that these songs were sung on the Pont Neuf
in Paris, where stands the Hotel de Ville, or City Hall, and thus the
generic name acquired the different termination.

As the form of entertainment advanced, the word vaudeville expanded
in meaning. It came to comprise not only a collection of songs, but also
acrobatic feats and other exhibitions. Having no dramatic sequence
whatever, these unrelated acts when shown together achieved
recognition as a distinct form of theatrical entertainment. As
"vaudeville"--or "variety"--this form of entertainment became known
and loved in every country of the world.
Vaudeville was introduced into this country before 1820, but it did not
become a common form of entertainment until shortly before the Civil
War when the word 'variety' was at once adopted and became familiar
as something peculiarly applicable to the troubled times. The new and
always cheerful entertainment found the reward of its optimism in a
wide popularity. But as those days of war were the days of men,
vaudeville made its appeal to men only. And then the war-clouds
passed away and the show business had to reestablish itself, precisely
as every other commercial pursuit had to readjust itself to changed
conditions.
Tony Pastor saw his opportunity. On July 31, 1865, he opened "Tony
Pastor's Opera House" at 199-201 Bowery, New York. He had a theory
that a vaudeville entertainment from which every objectionable word
and action were taken away, and from which the drinking bar was
excluded, would appeal to women and children as well as men. He
knew that no entertainment that excluded women could long hold a
profitable place in a man's affections. So to draw the whole family to
his new Opera House, Tony Pastor inaugurated clean vaudeville [1].
Pastor's success was almost instantaneous. It became the fashion to go
to Pastor's Opera House and later when he moved to Broadway, and
then up to Fourteenth Street, next to Tammany Hall, he carried his
clientele with him. And vaudeville, as a form of entertainment that
appealed to every member of the home circle, was firmly
established--for a while.
[1] In the New York Clipper for December 19, 1914, there is an
interesting article: "The Days of Tony Pastor," by Al. Fostelle, an
old-time vaudeville performer, recounting the names of the famous

performers who played for Tony Pastor in the early days. It reads like a
"who's who" of vaudeville history. Mr. Fostelle, has in his collection a
bill of an entertainment given in England in 1723, consisting of singing,
dancing, character impersonations, with musical accompaniment,
tight-rope walking, acrobatic feats, etc.
For Pastor's success in New York did not at first seem to the average
vaudeville manager something that could be duplicated everywhere. A
large part of the profits of the usual place came from the sale of drinks
and to forego this source of revenue seemed suicidal. Therefore,
vaudeville as a whole continued for years on the old plane. "Variety"
was the name--in England vaudeville is still called "variety"--that it
held even more widely then. And