In farce—­particularly in the old farces which depended on mistaken identity, a motive force considered hardly worthy of use today—­the comedy arises very rarely from a witty saying in itself.  The fun usually depends upon the humorous situations that develop.  “The New Coachman”—­one of those old farcical “screams”—­contained an exceptionally fine example of this point and is pertinent to-day because it had no relation to mistaken identity in this humorous scene.  Here the best fun of the comedy came from the use of a stepladder by the supposed coachman, who got all tangled up in it.  After the first misstep with that stepladder, there was never any time for more than a word here and there.  Of course, such a scene depends upon the actor almost entirely, and therefore cannot be indicated in the business by the playwright, but I use it for an example because it is a peculiarly brilliant instance of the fact that hearty laughter depends not on hearing, but on seeing.

But do not make the mistake of trying to patch together a comedy playlet from the bits of funny stage business you have seen in other acts.  If you present such a manuscript to a producer you may be very sure it will be refused, for there are plenty of producers and performers in vaudeville who can supply such an act at a moment’s notice from memory.

The sort of comedy expected from the playwright is comedy that develops from situation.  It is in the invention of new situations and new business to fit these situations that the playlet writer finds his reward in production and profit.

5.  Entrances, Exits and the Stage-Cross

Among the many definitions of drama—­frequently misleading, but equally often helpful—­there is one which holds the whole art of play writing lies in getting the characters on the stage naturally and effectively and getting them off again—­naturally and effectively.  But, even the most daring of definition makers has not yet told us how this is to be accomplished in all cases.  The fact is, no one can tell us, because a method that would be natural and effective in a given playlet, would very likely be most unnatural and ineffective in another.  All that can be said is that the same dramatic sense with which you have constructed the story of your playlet will carry you forward in the inevitable entrances and exits.  How these moments are to be effective, lies in the very nature of the story you are telling.  This is boldly begging the question, but it is all that may with honest helpfulness be said.

However, regarding the stage-cross, and allied movements of the actors, there are two suggestions that may be helpful.  The first is founded on the old theory that a scene ought to be “dressed” all the time—­that is, if one character moves across the stage, the other ought to move a little up stage to give him room to cross and should then move down on the opposite side, to keep the scene dressed or “balanced.”  But no hard and fast rule can be given, even for the stage-cross.  If it seems the easy and natural thing for the characters to do this, all well and good.  But you should feel no compulsion about it and really should give to the matter but little thought.