A FEW OF OUR SUCCESSFUL LIBRETTISTS

The Men Who Invent the Catch-words of the Season

Leander Richardson

WHO are our musical comedy librettists? What is the inner working of their trade, these men who propel the inspiration for the tune-smiths without which they must cease, desist, put up their shutters and sheathe themselves in darkness?

First and foremost, there is Harry B. Smith, who has written ten times as many librettos as any other American, ranging from "Robin Hood" to more than one human being's share of farce comedies. Mr. Smith comes from Chicago, where—to reveal his hideous past—he was a press agent.

It is not overstating the facts to say that Mr. Smith with complete facility can compose a perfect -lyric upon a typewriter, which is something of a feat; or that one of his most successful songs was written in lead pencil upon the back of an envelope one afternoon when he was strolling home from a rehearsal.

A SURPRISING and prolific genius is Smith, frequently with so many pieces going at the same time that it would not have seemed unreasonable to suppose he was drawing royalties from the entire musical ell of our theatrical structure. Part of the book of "Town Topics" is his.

In the domain where librettos grow, as in the telephone book, there is an abundance of Smiths. Of these additional Smiths there is firstly, Robert, fraternal relative of Harry B., and far from content to bask idly in the reflected brilliancy of the brother who started first in the race. Robert has not written anything like the number of pieces that have emerged from the mind of brother Harry, but he has accomplished some very good work and has had his name in large letters upon the billboards. He is adapting three Viennese operettas this season, and also had a hand in "Town Topics."

Then there is Edgar Smith, who for years and with astonishing success supplied the books and lyrics for Weber and Fields' Music Hall.

IT was vastly difficult, but Smith accomplished it year in and year out. His most recent books are "Hands Up," and "The Blued Paradise."

Next to Harry Smith the most voluminous American librettist is George V. Hobart, who not only writes in association with composers of muse but puts forth plays, such, for instance, as "Experience," and promotes mirth in the columns of newspapers.

Henry Blossom, of St. Louis, has been rated among our most successful librettists since his "Yankee Consul," some years ago, served to make secure the reputation of Raymond Hitchcock. He has furnished such wellknown books as "Mile. Modiste," "The Red Mill," "The Slim Princess" and many other pieces, of which "The Only Girl" and "The Princess Pat," both successes, are the most recent. Among our remaining librettists are Gene Buck, author of the Follies; C. M. S. McLellan, who lives abroad and plods and polishes; Glen MacDonough who evolves enough jokes in a single evening at the Lambs to stock two librettos, but only writes one book a season; and Otto Hauerback, who can lick anybody else's doubtful play into a harmonious and acceptable whole.