"Hokum"

Its Genesis and Meaning-- An Eternal Property

Assiduous readers of metropolitan theatrical intelligence have found the word "hokum" firmly embedded in the critical vocabulary. Those unfamiliar with theatrical esoterics may be mystified by its repeated reappearance. It obviously contains an uncomplimentary flavor; its meaning may be a trifle vague. It is so often used that it seems to become a generic condemnation of a multitude of theatrical sins.

"Hokum" is defined by general consent of the show world as any aged but infallible situation, action or remark which will reduce an audience to laughter, tension or tears.

Where the word "hokum" came from is clear enough. "Hocus pocus" is a veteran in good standing, meaning " to trick, sham or cheat." Obviously it crept into the theatrical vocabulary through the realization that presenting a new play, skit or act full of old stuff is in a sense cheating the audience.

It is obvious, then, why dramatic critics delight in impaling a squirming situation on their argute pens and holding it up for ridicule with delighted cries of " hokum." A show that is " all hoked up " is obviously the work of a group of playwright, author and producer who lack imagination. They are feeding the audience last year's fare warmed over.

Examples are legion. How many thousands of times has a comedian let a match burn until it singes his fingers? How many million people have laughed at his resulting agitation? In nearly every musical show ever produced one character or another, exit bound, will bump into the wings for comic effect. Hundreds of pairs of comedians have walked with increasing rapidity up and down the stage until one suddenly queries the other: "Who's winning?"

Hundreds of candles burn in hundreds of stage windows while hundreds of stage mothers yearn for hundreds of wandering boys to return. Villians hiss: "You will suffer for this" all over the one-night stands. Heroines hold up burglars with pistols that aren't loaded. Working girls are leered at by wicked employers.

These devices have been used in their essential form ever since the Theatre began. They are fundamental and apparently eternal properties of the theatrical artificer. Not even excessive employment on cinema lots has dulled their efficiency. They never miss fire. W. R.