Sometimes the managers are badly mistaken. It is common gossip that a
very celebrated opera singer sought a vaudeville engagement and was
turned down because of the lack of the musical experience of the
manager, and because she was unknown. If he wanted her to-day his figure
would have to be several thousand dollars a week.
The average vaudeville theater in America is far better for the singer,
in many ways, than many of the opera houses. In fact the vaudeville
theaters are new; while the opera houses are old, and often sadly run
down and out of date. Possibly the finest vaudeville theater in America
is in Providence, R. I., and was built by E. F. Albee. It is palatial in
every aspect, built as strong and substantial as a fort, and yet as
elegant as a mansion. It is much easier to sing in these modern theaters
made of stone and concrete than in many of the old-fashioned opera
houses. Indeed, some of the vaudeville audiences often hear a singer at
far better advantage than in the opera house.
The singer who realizes the wonderful artistic opportunities provided in
reaching such immense numbers of people, who will understand that he
must sing up to the larger humanity rather than thinking that he must
sing down to a mob, who will work to do better vocal and interpretative
thinking at every successive performance, will lose nothing by singing
in vaudeville and may gain an army of friends and admirers he could not
otherwise possibly acquire.