Melodramas or How The Old West Can Be Fun
The villain ties the damsel to a railroad track or to a huge buzzsaw. He's foreclosing on her property (or her family's property) simply because he can. Then, at the last moment, the hero comes to the rescue. He scares away or arrests the villain (rarely is there bloodshed or violence). The damsel embraces the hero and they ride off into the sunset. The stereotype of a melodrama?
Sure. It's fairly typical of most people's impressions. Black and white. Villain versus Hero. Evil versus Good. And Good always wins. Add to all of that some semi-talented actors overacting immensely, and the picture is even more vivid.
This is actually more of a caricature of melodramas. The form with which we are so familiar (thanks to silent movies and cartoons about Canadian Mounties), however, is quite a bit removed from the original art form. Back in the mid to late-1800s, the melodrama was still about evil and good, but the overacting and simplicity of a short cartoon were not yet part of it. These were seriously written plays performed across the still-young United States. Many dealt with temperance (i.e., the evils of alcohol). These plays were also seriously acted. However, to our modern tastes, the damsel holding the back of her hand up to her forehead and the black-clad villain twirling his long moustache, are relics to be parodied. Even plays from the early part of the 20th century, such as Deane and Balderstein's Dracula, come across as melodramatic today if played according to the original script.
However, modern renditions of melodramas (the "mellerdrammers") are still popular with many theaters. Booing and hissing the villain, overacting, frequent asides by the characters to the audience, and interactivity with the audience come together to create a simple yet fun evening's entertainment. I know of theaters who use such evenings as major annual events that contribute greatly to their bottom line. Audiences still love to hate the villain, cheer the hero, and watch good triumph over evil. It is escapism in a true sense, a basic tenet of theater.
The number of such plays in many publishers' catalogs also lends credibility to its popularity, and therefore, ability to put royalties into a playwright's pocket. Even though the groups putting on such shows are likely to be community theaters and schools, their money is just as good as anybody else's. Additionally, movies occasionally delve into this realm, such as the remake of The Wild, Wild West or many of Mel Brooks' offerings. So don't discount what could be a great opportunity for you.
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