Thus the vaudeville singer who is genuinely interested in the progress
of his art has ample time to study new songs and new roles. 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.