How does one become a vaudevillian?

The low literary requirements of vaudeville would seem to make it accessible to any dramatist who might turn their hand to it. Only a minimal rhetorical apparatus seems necessary to organize an action, arrange verses, and scatter a work with a few witty remarks. Does vaudeville, then, attract a particular type of artist who could compensate for-cultural shortcomings with something else, something that could be learned outside the classroom? Despite the diversity of the numerous vaudevillians in the nineteenth century, it is possible to establish a few model pathways.