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AUDEVILLE is intrinsically episodic and discontinuous. Its audiences do not demand dénoûements. Sufficient unto each “turn” is the evil thereof. No one cares how many romances the singing comédienne may have had if she can capably sustain the limelight and a high note or two. The audiences reck not if the performing dogs get to the pound the moment they have jumped through their last hoop. They do not desire bulletins about the possible injuries received by the comic bicyclist who retires head-first from the stage in a crash of (property) china-ware. Neither do they consider that their seat coupons entitle them to be instructed whether or no there is a