The years of World War I witnessed multiple aesthetic shifts in American theatrical productions. These shifts may appear unrelated, but in this chapter, I examine how the Little Theatre Movement and the intimate musical comedy are inextricably intertwined. Flourishing concurrently and featuring an overlapping list of prominent personnel, both movements bore the fruit of shared ideals—whether the sharing was conscious or not. This chapter begins with an exploration of contemporaneous Broadway extravaganzas and the prevailing “more is more” philosophy against which both the Little Theatre Movement and the intimate musical comedy placed themselves. I compare the people and products prominent on Broadway in the 1910s with the leaders and freethinkers who advocated an “insurgent [read: non-commercial] theatre,” as Thomas H. Dickinson called it. Considering acting methods, literary genres, and theater construction, I demonstrate the links between the parallel movements in this chapter.