TH E U E ADV E N T U O F A PL AY

BY LO U IS EVAN SH I PMAN

New York 85 L ondon MITCHELL KENNERLEY 19 1 4 C O P Y R IG HT 1 9 1 4 BY MITCHEL L K EN N ER L EY TO MY FRI E D H E RY MI ER N N LL , BU T F OR WH OM TH E SU PRE ME ADVE N TU RE S OF TH E PL AY WOU LD N EVER H AVE COME

ILLUSTRATIONS

’ Henry Miller as Major D Arcy Frontispi ece P AGE Costume plate by Henry Ogden Costume plate by Henry Ogden Henry Miller and Miss Florence Rock ’ ” well in D Arcy o f the Guards Costume plate i b Mac uo d . . y Percy q , R I ’ Sir George Alexander as Major D Arcy 124 Programme of London prod uction 13 1 Sir George Alexander and Miss Evelyn ’ “ ’ ” D Alloy in D Arcy o f the Guards 134 Costume plate 140

M i . b ac uo d . y Percy q , R I BO! ffi t a o f e O ce s tement r ceipts , for a ’ p erformance o f D Arcy o f the ”

Y . G . 146 uards at the Savoy Theatre , N BO! Office statement o f receipts fo r a ’ performance of D Arcy o f the ”

G s at St . James Theat re uard the ‘fi , L ondon 151 ’ D Arcy o f the Guards in stock 18 0 ’ ” D Arcy of the Guards in the movies 182 ‘

h LETTER FROM PR FE SOR E R E P BAKER O S G O G .

My dear S hipman S ome t ime a o be re m re ou read g , fo y fi , y “ t o a g roup of my s tuden t s The True Ad ven tur s o a P la The in t erest and e f y. leasu re ar used in ur audience all o p o yo , f t hem embr la wri ht s have made me yo p y g , w s h t e t h manuscri t n rin t ere i o se e p i p . W we at t he begin ning of t he nineteen t h cen t ur t hat t ime sub- titles inst ead t he y, of , of t wen tiet h cen t ur ur b k mi ht well y, yo oo g “ be gi ven t he sub-tit le A L esson in P a ” t nc N earl ev r un dramatist ie e . y e y yo g s eems t o believe t hat when his play is fin ished he has merel t o resen t his manu , y p scrip t t o s ome play-placer or manag er t o have it s Obvious merit immediat ely recog nized H e is er ectl sure t hat i these . p f y f merits are so rec nized he has but t o wait og , 9 10 AD VENTURE S OF A PLAY

n calmness the sur r duc i n his la i e p o t o of p y. This lit tle b k wid sho w him what atience oo p , t act ada t abilit and ersist en ce are need , p y, p ed in t he waiting g ame which all except t he most fort unat e of young dramatist s must la H r r it h curi usl air . e e ou i ct u e w p y y p , o y f sens e ers ective t ward ur own w rk of p p o yo o , a few of t he infinit e number of mischan ces an d complications which may s t an d bet ween a manus cri t leasin t o act rs and man p , p g o a s an t s l m duct on I t ma er d i u ti at e r i . g , p o y be discoura in but it will in t he en d be g g , helpful for many of your readers t o realize t hat t here were t hree years bet ween t he fin ishiny of your manus cript and it s firs t pro ducti n in t his coun r and t welve ears o t y, y between t he writing of t he play and it s first r du cti n in L ond n t hou h at t he ut set p o o o , g o “ ” ’ o t he Adven tures D A rc seemed likel f , y y t o be seen in L ondon earlier t han in N ew Y rk o . Y et even while you discourag e you eu c ra To a when on e he ars so h u e. d muc o g y , us t or un ust about has t and ill- cons id j j , y e red r ducti ns la s it is a leas ure p o o of p y , p ’ AD N P 113 VE TURE S OF A LAY,

t o read you r words of appreciation for t he “ ’ ” n D Ar H r M l r p roductio of cy by en y i le an d S ir Geor e Alexander I ndeed t h u h g . , o g I t hin k t he vici ssit udes of your play may g o as far as anything can t oward det erring a un dramatist r m urt her writin I yo g f o f g , suspect t his result will be en tirely offset by t he eviden ce in your correspondence of help fulness and ki ndly in t erest on t he part of n earl all wh re h m n cr t A t er y o ad t e a us ip . f all it mus t have been leas ant t o be t he , p c c r n ur l i e o e of yo p ay. L ike a d dramatist t oo ou are t h r g oo , , y o

u hl u t at w d a I am t old o d e . N a s o g y p o y , ,

at t he end a la we sh uld have s et tled of p y, o n th n I ns t d w sh uld h v int ed o i g . ea e o a e p a “ a ct ure or ut a ues t n Y ur Adven pi p q io . o ” ’ “ ” t ures like S t ockt on s L ad or t he Ti er , y g , leave me wit h a uer in t his case one which q y , involves t he whole ques tion of t he relation of a dramatist t o his audience in t he t reat

ment his mat er al hat w uld have of i . W o happened t o t he play if P amela had n ot sho t ’ r D A rcy at t he end of A ct I I ! I wond e . 12 AD VENTURES OF A PLAY

S o in t hese ew a es ou disc ura e us , f p g , y o g , enc ura e us and set us w nderin Y ou o g , o g . r il t h dram t s a e st l e a i t I see .

urs yo ,

A P . B KER THE TRUE ADVENTURES OF A PLAY

CHAPTER I

HE ancient annals Of the theatre , copi o us - and never ending, are filled with the records o f the vicissitudinous adventures

o f . To plays the uninitiate , perhaps , these chronicles may seem , somewhat , to strain for their effect : the Obduracy and u nint elli gence o f the old-time manager to be too strongly accented ; the sudden success of the “ despised stop -g ap thrust on at a mo ’ t oo ment s notice, to be dazzling ; but I doubt not that it would be possible to paral in in lel, every generation Of the theatre, cident s quite as remarkable o f the persis ni tent , and ofttimes dishearte ng struggle, o f what the event proved to be successful l i h p ays , against the barriers beh nd w ich the 13 14 ADVENTURE S OF A PLAY powers Of the theatre have seemed in all times to have intrenched themselves , as well Of u as n mberless others , whose way to suc cess has been the primrose way . The comedies of Goldsmith knocked at no more willing gates than those of Tom or o f d W i Robertson, Cly e Fitch ; h le the golden path o f success opened out as easily for Oscar Wilde as it did for Sheridan or i O Bulwer Lytton . The iron c tragedy of T ’ “ H o n bin s death long before his play, The ” eymoon , was drawn from its musty cubby l c hole and successfu ly produ ed, is somewhat analogous to the fate Of Sir Charles Young “ ” and his Jim the Penman . That managers n ot i and actors are nfallible, and that good — — is plays and some bad ones are, as true today as ever it was . There can be little doubt that the feelings f o . D Mr aniel Frohman, over the success “ ” o f l The Lion and the Mouse, were argely akin to the sensations Of Garrick over the extraordinary interest that London and the ’ provinces took in Home s tragedy Of “D hi i s . ouglas , produced by r val And the AD VENTURE S OF A PLAY 15 analogy between the circumstances Of the e arlier and o ur own time may also be dis cerned in the further instance o f Drury ’ c - Lane s famous a tor manager, having once “ ’ ” “ let slip the S cottish Shakespeare s Doug ” las d i , en eavor ng to make amends for his c Of u i la k ast teness , by the qu ck production ’ of the reverend author s other plays ; all o f them failures . With much the same eager ness has the foremost manager Of today, produced the unsucce ssful plays of Augus tus Thomas and resigned his more fortunate ones to the hands Of temerarious competi tors . c et in If we ould but g the story, the whole, of some o f the famous successes and failures Of W w it bygone days , hat a glo would throw along the devious paths most Of them have had to traverse to reach their goal ; how it would expose the hopes , miseries , ambitions and grat ifi cat ions of those whose only peg fo r memory to hang on, is some faded play bill or casual mention in some more faded i o rem niscence . We know vaguely f the pre “ carious adventures of She Stoops to Con 16 ADVENTURE S OF A PLAY

u G i - quer, ref sed by arr ck, half heartedly produced by Colman ; and Bernard Shaw, i in brief autobiographic gl mpses , has shown us the dubious journeyings o f many o f hi s plays , before they found fit lodging outside

- their book covers . But seldom it is that those not o f the theatre itself ever hear or kn ow of the precarious wanderings of most plays before they come to their own behind the footlights .

In bringing together the facts and figures , correspondence and memories Of the travail o f o f ow n a little comedy my , it is with no sense of its importance in relation to t he o f o w n i drama its t me, but simply the desire to give in detail an example , more or less Of typical , the conditions which surround and beset the way to production o f most

Of . l plays today And I rather fancy, cou d ad the truth be known, that the theatrical “ ’ ” ventures Of D Arcy o f the Guards are as typical o f the seventeenth and eighteenth o f centuries as they are the twentieth . The idea Of writing the play came from rbearin ov e g the chance remark, that a play D T 17 A VEN URES OF A PLAY ,

dealing with the revolutionary period in our “ ” history had never been successful . Never in is a challenging word , and sticks the crop o f u yo th and inexperience , so my attention was immediately concentr ated on the best method o f changing the hateful word into “ ” i or somet mes , at least a wavering per ” i c t he haps . To this end I d s arded usual ic is formula , and decided to use the trag sues Of the war as the merest background li d c c for the ghtest come y I could on eive . A red- coated hero was in defiance Of the tradi hi c tion also , but I made him an Irishman, w h gave him an air o f inconsequence and de t a chment from the hated British oppressors . With these t w o ideas in conjunction with the memory Of a little story, dear to my boy Of - hood, a quick witted Philadelphia Q uak di D d cress, Ly a arrow, who had save Wash in t on g from surprise at Valley Forge , I i Ow n constructed a s mple fiction, that in my mind depended for whatever favor it might ever hope to receive more on the gaiety and charm o f it s treatment than on the strength or novelty o f its dramatic theme . 18 ADVENTURES OF A PLAY

The writing took four months o f the i 18 98 spr ng and summer Of , and from the

very origin Of the idea I had Mr . E . H . Sothern before me as the ideal for my Irish u g ardsman . As I was nearing the comple tion o f the work my ardor was somewhat checked by the newspaper announcement that Sothern would open his season in “A i ” “ ” Colon al Girl . The word Colonial seemed an ominous imping ment on my own “G ” enterprise , but irl was reassuring, as I

further judged from the following letter, which I received in answer to an inquiry as to Whether he would care to read my manu

script . The italicized words show the basis

o f my judgment . There was evidently too “ ” much Girl in his new play ; but that seems to be inevitable when husband and Wife per in form the same company .

The Stenton, Philadelphia . My dear Shipman I have been worried and busy about my new play—pardon me for not replying to s ll yr letter. I ha be very happy to read yr

20 AD VENTURES OF A PLAY

I sent it to the Players . Will you send me ou the play in case y still wish me to read it .

Yrs sincerely,

E . H . Sothern .

l it I stil wanted him to read , for I felt buoyantly confident that it needed but peru sal on his part for him to Offer my ow n terms “ ’ O D A c o for its production . S r y f the G out uards , immaculately typed , set on his journeys , and there was many a weary day of wandering befor e he came into his Own . The first word I had Of the impression i or he had made was a fortn ght so later, at D the Players , where I chanced to meet aniel ’ S ot hern s Frohman, who was at that time An d manager . , to digress a moment, I wish here to take the opportunity, as it does not ac present itself again in this chronicle, to knowledge the many Obligations and courte l sies that I , in common with a most every one who has been associated with the theatre -fi v e during the last twenty years , Owe to “ l D F . n . . , as he is fami iarly k own Never too busy to listen to the unknown, generous ADVENTURE S OF A PLAY 21 in u Of enco ragement, appreciative the best, — “ ”— but and the only but his good-nature has led him to read so many bad plays that he c o u rarely has the ourage to pr d ce good ones . n i c Meeti g him, as I sa d, at the lub , he “ greeted me with : Sothern tells me that at ’ ” ’ last you ve written a good play . I don t o f u know which , the many obvio s retorts I

’ t o could have made this , I did make , and I “ n c had ig ored the at last , for his ourtesy been imposed upon by all my previous ef

forts , and he had even produced the worst

o f them the season before . It is useless to say that I was quite lifted to the clouds by one his remark, and the further that he would read it at the first opportunity and

give me a decision . The decision was gi ven by Sothern him

self, whom I saw several weeks later, “ patched and powdered for his part in The Colonial Gir in his dressing- room at the a t he Old Lyceum . They liked the pl y, but story was too slender and slight to hold an i Of audience , they felt ; and the cl max the ’ act Ma r D Arc is third , where jo y shot by 22 D A VENTURES OF A PLAY;

P amela T wnsend in o , the heroine, was an O superable objection . N romantic hero ul i t sho d ever get the worst Of . With this i in ax om to put my pipe and smoke, and with my manuscript tucked snugly under on my arm, I departed to ruminate the laws Of conduct and circumstance that should al ways govern the romantic hero , and to won der whether Bernard Shaw was not right that t he only hope for play and playhouse was to eliminate the despicable hero roman i tic ent rely . d Mr ic s I next turne to . R hard Man field, ui who, disting shed always by his taste and i in nterest new plays , seemed to be a likely i i sponsor for my romant c Ir shman, and in response to an inquiry from me I received this letter :

G e re ard n Theat ,

N ov . 11th 189 . New York, , 8

i i . Lou s Evan Sh pman, Esq Dear Sir : ou Mr . Mansfield desires me to thank y o t h th i t he f r yours Of e 8 ns , and to say that ADVENTURES OF A PLAY 23 will be most happy t o read your play if you will be so good as to send him the MSS . Sl l' I am , dear ,

Yours truly,

Chas . B . Cochran,

Secretary .

I quote it not because o f any particular bearing it had o n the adventures Of the play —I may say here that the manuscript was returned shortly after its receipt with no — comment but in a veracious history o f this sort it is not o ut Of place t o mention every ou door at which y knock, whether you get by the portal o r not . con About this time, too, I had several v ersat ion s D with Mr . John rew concerning the play, and gave him a manuscript to hand o hi s h n t o . manager, Mr Charles Fro man ; but as it was nearly six months before I o f heard it again from them , I can take the opportunity to tell o f the base use to which . I put my Irish hero and colonial heroine f during the interim . Finding it di ficult to et on g them the boards, I decided to put 24 ADVENTURES OF A PLAY them between : in other words to make a book o f them ; to subject them to the ig nominy o f the printed page ; they whose her it a e l g , though denied , shou d have been the “ ” “ ” glare o f the bunch and spots and the ” irradiation Of glimmering foots . For ul t erior motive I had an idea that perhaps ’ publishers advertising and some favorable reviews might point out to the wary and lethargic who sat in the high places that a perfectly good play was going a begging . And SO the metamorphosis w as aecom i h l s ed . u p A dashing prolog e was composed, be the acts were sliced into chapters , and it Ma or fore he knew , hat in hand, my j ’ D Arcy was presenting himself for the high ’ ot er criticism Of a publisher s reader . He g f it . What follows is from o ne o the literary o f ac l advisers The M mi lan Company.

Copy from Report Upon “ ’ ” D Arcy o f the Guards

This is a MSS . by a clever and able writer, but as it stands it is only a sketch AD VENTURES OF A PLAY 25

i u efi ort for a good story . With a ser o s and a proper respect for his work and his read As ers , it might be made worth publishing . i it is the joints are a little too obv ous , and the needful improbability happens jus t in its proper place too Often . The reader is never warmed up by excitement because the improbable coincidences are brought in with What seems like a desire to make a good

con se scene, rather than a good story, and quently with a disregard Of the reader ’s sense . While the author is probably cor “ ” rect in thinking that the romantic is what the people want , he seems to have forgotten that people do not care t o know when they c i dis are being de e ved , especially when the illu siomn ent is caused by the very device by i i which it is attempted to make the llus on . There is plenty Of theatrical dash and g o in the story , but the quick action and high talk are no substitute for an excitement which I think should not need such obvious aids . I am afraid the story, as it is , is not worth pub lishin i if ill g , but the author can wr te he w 2 6 ADVENTURE S OF A PLAY only Show the literary patience which is not in evidence in this MSS . A week later the following telegram came to me :

’ ’ F eb 18 9 9 . Chicago, y ,

Louis E . Shipman,

Care The Players . “ ’ ” Accept D Arcy f or immedi ate publica tion . Regular royalty .

Herbert S . Stone .

This completely assuaged feelings some rutHe d what by the higher criticism , and the appearance Of the book early in the follow ing April furnished a tangible incentive for further assault o n the dramatic citadel ; and with the idea Of making this still more e f f ect iv e I enlisted the services of the well k ’ nown author s agent, Elisabeth Marbury . In the course o f talk with John Drew n during the winter, I became convi ced that he really liked the play, and Miss Marbury, o n r u n re reading it , exp essed herself very serv edly in its favor ; so through their com

2 8 ADVENTURES OF A PLAY d mists when the post delivere this , a fort night later Empire Theatre Charles Frohman ’s Offices ’

26t h 99 . New York, April ,

Mr . Louis Evan Shipman,

16 G . The Players , ramercy Park, City D : My ear Mr . Shipman ad I re your play, and I find it will not D answer for Mr . rew . Thank you very much for your consideration in waiting so long. Y { ours very truly,

Charles Frohman .

’ It was Mr . Edward Rose s ingenuous “ adaptation Of the popular novel , Richard ”

. D Carvel , that answered for Mr rew the following season .

About this time I met Robert Taber, just returned after several years ’ stay in Lon I rv don , where, as a member of Sir Henry ’ at ing s company, he had attracted unusual tention and created a position for himself c with Engli sh audiences . I gave him a opy ADVENTURES OF A PLAY 29 o f the story to read and received this letter a week later .

Stowe , Vermont, ’

13 99 . May th, My Dear Shipman I ’ve read your charming book with great interest and will be delighted to have you as i dl u send me the play you so k n y s ggested, ’ e and I m ev r, ul Tr y yours ,

Robert Taber .

I felt that he was peculiarly adapted to ’ o f D Arc t o the part y, and waited eagerly i i i get his op n on of the play, wh ch I for di warded to him imme ately .

’

S w Vt . 23d 99 . to e, , May , My dear Shipman : ’ l ic i in I ve read yr p ay tw e, and w th great

t erest li it e . . I ke ven better than the book — If properly played and much depends on — that I feel it would be undoubtedly a suc ’ cess in America (and I don t think I am

- over sanguine as a rule about plays) . To ' 30 AD VENTURE S OF A PLAY be quite frank I ’m wondering why you have equal expectations fo r it s success in Eng land ; personally I regret exceedingly that I ’ On don t agree with you this point . I fear the sympathy always leaning to the American side would not be entirely pala table to English audiences . Y o u have been good enough to think I could play the part, and nothing would but is please me more, my plan to remain i in London for some t me yet, otherwise I woul d gladly try and come to some arrange ment with you for the production Of the play here . ’ I can t see why you should have any trouble in placing so charming a work ; if I were managing a company here I would jump at the chance of secu ring a play so c i in i truly interesting, so onc se workmansh p , and one which would lend itself to a beauti i ful , simple treatment in the product on .

I may be quite wrong about London, but ’ most reluctantly I say I don t think I am . It has been a real pleasure reading the piece . I congratulate you sincerely, and I ADVENTURE S OF A PLAY 3 1 hope it will fall into hands that will treat it with appreciation .

Very sincerely yours ,

Robert Taber . — I . S . . P . send the MS S by reg mail to day . If the letter had been intentionally and artfully contrived to dash the hopes and at the same time administer to the self- esteem o f a young dramatist, it could have succeed - i ed n o better . And self esteem was beg n ning to feel the need Of even so harmless a tonic ; hopes , however, revived easily enough over night . I brooded over this letter fo r l a month , and final y decided to press Taber for another reading, and further considera tion, suggesting that he take it to London e with him , and take the advic of English friends as t o it s suitability for production

- over there . He good naturedly replied

ul 14 J y th . The Players ,

16 Gramercy Park . Dear Shipman : Thanks fo r your kind ness in regard t o the play . I go to Long 32 ADVENTURE S OF A PLAY i Island tomorrow, and it w ll be forwarded ’ to me there . I ll certainly test the attitude O f the English toward it . I hope to see you d here, if not, thanks and goo wishes . u Faithfully yo rs ,

Robert Taber .

an d e He sailed shortly after, I h ard noth ing further for some weeks .

In the meantime I read the play to Mr . o ne Charles Richman, sweltering night in u as early Aug st , and I am a very bad reader, it and he was a very bad listener, seemed to make but little impression on him , although he was positive that the ending o f the third

act would Spoil a better play . It was not S O very long after this that I

heard from Taber once more.

’ Bate s Hotel ,

D . over Street, W 29t h ’99 August , ,

My dear Shipman , Another reading o f your play has for i strengthened my belief in it Amer ca, " AD VENTURE S OF A PLAY 33

o r if here, elsewhere, and you still wish to it negotiate with me in regard to , I can make you the following Off er

5 % o f 1st £1000 gross Of next £200 gross 10 % Of all over £1200 gross

(In strict confidence let me say that these are the exact terms for royalty whi ch I have arranged with who , as I told you , has already completed a play for me . ) Moreover t o retain English speaking rights I will pay you $500 (not to be de ducted from royalties ) . Please let me have your answer at your li ear est convenience and believe me,

Ever faithfully yours,

Robert Taber .

My earliest convenience was the instant

I could put pen to paper, and such was the joyousness O f my haste that I misint erpre “ i ” ted his English speak ng rights , under t anding him to mean English rights, and 34. ADVENTURE S OF A PLAY that therefore I was still free to negotiate for the American rights .

This led to complications , for shortly after I bad word from a friend playing in the company Of Herbert Kelcey and Effie

Shannon, that he had read the novel and m passed it over to the , and that they were extremely anxious to read the play . I for warded them a copy, and asked Miss Mar bury to open negotiations with them . Meanwhile the following letter from Ta ber.

Arts Club, ’ 4 D . 12 99 . 0 Oct , over Street,

i . Piccad lly, W My dear Shipman : I did not answer k your last ind letter, because I had previ ’ o u sly seen Miss Marbury s representative

(Miss Woodridge ) had a talk with her, and explained that you had evidently misunder stood my Offer . I knew her letter Of explanation was f Of about due at the time o my receipt yours , so to write to you again under those cir

36 AD VENTURE S OF A PLAY

ffi ce to hear from you either through the O , or to me direct by return . G l e w i e ood uck, b st sh s, e i Ev r fa thfully yours ,

Robert Taber.

This was the first that I had heard Of a three -year time limit ; that is that it woul d be possible for him to hold the play for three years without producing it in either coun t ie it try, and I hesitated to up for that i uld leng th o f t me . I sho like to add here that there is no greater unwisdom than for an author to bind hi s work over for any ex Of i tended period . The ways the theatr cal i ’ world are dev ous , and I ve known plays to be purchased simply for the purpose Of o f o r keeping them out the hands Of rivals , to prevent their possible production else where conflicting with the immediate plans u r Of the purchaser . A stip lation for p oduc tion within a year, at the most . should be a part o f every contract .

Feeling this strongly, and strengthened by the thought that Mr . Kelcey and Miss ADVENTUR E S OF A PLAY 37 Shannon would be very probable purchasers Of Am the erican acting rights , I wrote to him Taber stating my position , and asked i re to forego the rights for over here, wh le i h Hi as tain ng t e English . s reply w :

Arts Club, ’

N o h 40 D . v t 99 . . 7 , over Street d Picca illy, W .

My dear Shipman, 25th I have yr letter Of the , and I cabled ’ Miss Marbury today . I m flattered by, and for r grateful y kind words , and will take yr interest in doing yr play, in which as you ’ w ell a . know, I ve re l hopes Of course letter writing in business mat f ters is unsatis actory, but in reading over ’ Of l t o un the copy my st letter you , I can t derst and why there should have been any misunderstanding. i I made in it no mention Of a t me limit, and as you kn ow the terms for royalties are very large, exceptionally large, in fact (I made them so purposely to cover this very point Of indefinite production, which might, 38 AD VENTURES OF A PLAYT

r I thought, otherwise be unsatisfacto y to ’ i in you) , I therefore don t feel just fied mak ing any arrangement to forego the Ameri can rights . ’ My modification to a three years clause, which I arranged with Miss M ’s representa ou tive has been conveyed to y , I know.

I naturally wish to conclude this matter, i Of as I know you do, and, w th the assurance for c yr letter at hand, I look the ontracts by G return . ood luck to you .

Ever faithfully yours , r Robert Tabe .

The same day I received this telegram

. 13 1899 . New York, Nov ,

To Louis Shipman .

Kelcey Shannon like play . Write fully what you wish done . Also suggest terms . u Elisabeth Marb ry .

in s o f I wrote to Miss Marbury, who, pite ’ Taber s repeated visits to her London Of fi ce t a , did not seem to understand the si u : tion, and got this reply AD VE NTURES OF A PL AY 39 h N OV. 1 t 1899 . New York, 7 ,

a . i My de r Mr Sh pman, I am in receipt o f your last letter written on h t e eve Of going to Boston . I am here with sending you the copy o f a letter re ceiv ed from Mr . Kelcey . He tells me that he has a very fine manager secured for next year, with whom we shall all be satisfied . I think he is most anxious to retain the if w e play, can make some arrangement , and I think that he and Miss Shannon would be splendid in it ; it seems a pity to tie up with

i o i . Mr . Taber so ndefinitely f r th s country Could not we give him the English rights apart from the others ! li Be eve me,

Yours faithfully,

Elisabeth Marbury .

’ c As Mr . Kel ey s proposition was rather indefinite and as by this time I was getting for restless to have the matter settled, I warded the agreements to Taber ; and on

D 15 1899 d . ecember th, , they were signe CHAPTER II

0 s in other artist find himself, connec

tion with his work, in quite the pre dicament Of the dramatist . The painter moves steadily through his mani fold prob o f u lems color and tone , until his pict re is completely interpretive o f the best that is in him , in relation to the best that is out

i . side Of him . It is fin shed The beauties him f or Of it are for complete, and as many others as kn ow how to see . The composition o f the musician once completed is for all who care to hear. The sculptor may spend weary months over the conception of his group , and its modelling, but it grows under his very eye and hand, and stands for his o w n before all at the moment of its com let ion p . The poet, dealing with the com lexit p y of character and motive, with the 40 AD VENTURES OF A PL AY 41 i D gr mness Of Life , the beauty Of eath , the ei h ght of the stars , the depths of the sea , e o n onc his dreams are paper, his vision is z reali ed . E ven though there be no pub lisher , a typewritten copy will serve every purpose, and all true poets need proper dis coura ement . w g But the dramatist, here is his is he, even after fable squeezed within the rigid technical strait jacket that the stage demands ! What though his manu “ script be ever so legibly typed, with the in neatest underlining Of stage direction red , who cares to read his play or hear it read, except under friendly compulsion ! His is no work Of art until it has passed through i o f - the alemb cs manager, stage manager, and actor ; it is partly theirs , and sometimes wholly, by the time the curtain rises ; and, then seen through the misty medium Of t in o hers , his interest it seems purely vicari o us o f , a tenuity . These reflections flow nat urally from my recollection o f the position “ in which I had placed my comedy, my not ” t yet work Of art . It was writ en, it was sold, l but it had on y the title to rank, and that by 42 ADVENTURES OF A PLAY

t ou r the meres courtesy, with what fore “ in D fathers , and some writers The ial and “ ” “ ” ae d Athen um , call The Closet rama ; and it is not permitted me to conceive o f any more damning designation . I stand “ with Brander Matthews and The Morni ng ” n O Telegraph i abhorrence f it . I had condemned my Irishman to remain

- - : three years , possibly, mute barbaric wn condemnation for any Celt . But my o ! I could have wept for him ! Instead I wrote to Taber to find out what his plans were . This was his reply

Ar ts Club, h 00 40 D 24t 19 . S Jan . , over treet,

Piccadilly, W. My dear Shipman Pardon the delay in answering your let ’ ’ ter, but I ve been rushed to death . I m glad i i th ngs are finally settled satisfactor ly, and ’ o f course I ll let you know in ample time whenever I propose doing your play . u i The man for the cost mes is, I th nk,

44 ADVENTURE S OF A PLAY

Adelphi Theatre,

2 1st 1900 . May , My dear Shipman for Thanks your very kind letter. Yes , “ ” it t oo D d was bad about Bonnie un ee , it in deserved a better fate, many ways a very beautiful play, I think . My plans for the summer are not yet defi nit el but if y settled, I do run over I will hope to see you . ’ ’ Don t be discouraged about D Arcy this is not at all the theatre for it ; it woul d i u have truly a poor chance at th s ho se, where “ ” plays like Q uo Vadis are much more in in demand . I take pleasure sending you the o f only photograph I have at hand, one

ff . m t o Macdu Com end me all friends , and believe me e Ev r faithfully yours ,

Robert Taber .

i I was not discouraged , and I was heart ly sorry for the collapse of his first independent

z ' venture ; however, I could not but reali e that my play was nearly two years Old and ADVE N TURE S OF A PLAY 45 ” was still a not yet work Of art, though a the comforting thought consoled me, that few years more o r less could give or take nothing from the perspective o f the R ev olu i t o nary period .

Taber came over in the late summer, and ’ e I didn t s e him . In a letter from Miss “ 3 rd i : Marbury, Of October , she sa d If you come to town I will tell you o f my interview with poor Taber . He confessed that he had O lost a lot f money on his experiment . I i think, however, that he has great fa th in

i had Taber had fa th in him , I hope for him , but I could plainly see that neither — woul d suffice he must needs soon apply for

had or That anyone read the book, seen Of it, aside from a lavish number presenta tion copies , I could not gather from the pub ’ lisher s h statements , but the letter t at here follows proved me wrong. 46 ADVENTURES OF A PLAY

i 2 t 0 t h 190 . Oc . Balt more, 7 , ui Mr . Lo s Evan Shipman, My dear S ir I would like to secure the dramatic rights ’ ” Arc o f D y of the Guards . Please inform me as to your terms . — As you may not recall my name I will add that I have been leadin g woman with

l . . Mr . Char es Coghlan, Mr James A Herne ,

n . n and am ow with Mr Otis Ski ner . “ ” I see a part in your book which is suit able to me ; and I can confidently say that a prominent New York manager will pro “ ’ ” duce D Arcy of the Guards if satisfactory

terms can be arranged . Hoping to hear from you at your earliest i c conven en e,

Yours sincerely,

Grace Filkins .

' I replied to this that un forth n at ely I was unable to enter into negotiations for the

American rights Of the play, and gave the reasons ; at the same time suggesting an AD VENTURE S OF A PLAY 47

o f other play mine for her purpose, to which Miss Filkins answered November 3 rd : l i Ba t more , Md

Saturday . i i Mr . Lou s Evan Sh pman, My Dear S ir : I read your letter to me with much pleasure and thank you for the kind things u a yo s y Of my work . I must confess I am disappointed in re ’ ou gard to D Arcy. Perhaps y may still — be able to arrange it with Mr . Taber is it

- Robert Taber whom I know very well, A Y o u to give me the m erican rights . see I i love your hero ne, she is such a lovable , gen tle, yet strong womanly character, and I is know she particularly in my line o f work .

Please send me your new play, I shall be glad to read it, and hope it may prove as suitable for me as i c S n erely yours ,

Grace Filkins . The idea that I should try to arrange with Taber for the American rights Of the piece 48 AD VENTURES OF A PLAY a u ppealed to me , particularly as I had beg n to feel that a production over here was g et ting further and further from his thoughts . S O I wrote and sounded him, and found that my surmise was correct .

Arts Club , h 4 D ec . 10t 1900 0 D , . over Street ,

Piccadilly, W .

My dear Shipman, I have your note in reference to ’ ” D Arc y. Though I hope some time to produce the in play London, I see no immediate pros ect o f p this , and as I have no expectation Of t o returning America for the present, I will be perfectly willing to di spose Of the Ameri can rights . d i In eed I feel this w ll be fairer to you . I don ’t think you will find me difficul t and if you receive what strikes you as a sat isfact or Of y Offer for the prospects the piece , let me hear from you , and I feel certain we can arrange the matter satisfactorily . v E er sincerely yours ,

Robert Taber. ADVENTURES OF A PLAY 49

The vagueness Of this letter in regard to i i any defin te plan for produc ng the play, gives point to my previous remarks against the practice Of tying a play up for any con i b s dera le Of i . length t me It, however,

cleared the way for negotiations over here , and I went at the business briskly to make

o n up for lost time, urged by the feeling ’ ’ that through my inexperience D Arcy s prospects had suffered . Remembering the interest Of Herbert im Kelcey and Miss Shannon in the piece, I mediately wrote to him and had this in re ply shortly after .

D . Washington, C

D ec . 29t h, 1900 . i My dear Mr . Sh pman

fo r i Many thanks your letter. I w sh I ’ was in a position to at once take D Arcy ” Of G the uards , but we are now under the

o f direction Mr . Charles Frohman, who

on finds all our material . I shall, however, my return to New York next week speak to 50 AD VENTURE S OF A PL AY b him about it, as oth Miss Shannon and I w i ere so very much impressed w th the play . u Very tr ly yours ,

Herbert Kelcey .

There was refreshment in this and assur

ance, and I tried to think that Kelcey might D succeed with Charles Frohman , where rew O had failed . T further bolster up this self c aid delusion, I on e more asked the of Miss

Marbury .

d 2 190 1. New York, Jan . , D i ear Mr . Sh pman, I have your letter and I have at once put myself in communication with Mr . Charles h Fro man, who now manages Kelcey and

Shannon, to see whether he will consider l your play for them . I wi l let you know as soon as I have his answer . In the mean while you had better send me a typed copy .

With kindest regards , I am,

Yours faithfully,

Elisabeth Marbury.

52 ADVENTURE S OF A PLAY liev ed , however, from annoying Mr . Froh man, as the following brief note shows

19 190 1. New York, Jan . th , D ear Mr . Shipman,

I regret to say that Mr . Frohman has re “ ’ ” D A rc Of G turned your play, y the uards .

With kindest regards , I am ,

Yours faithfully,

Elisabeth Marbury .

I rebounded from this and immediately H wrote to Mr . James ackett, who had just announced that he intended the following season to try his fortunes under his own

management . He answered very cordially

by the return post .

25 1901 Cleveland , Jan . , .

My dear Shipman,

I shall be delighted to read your play . Of w Send it to me care Theatre , Mil aukee,

Wis ., where I shall be next week .

Most sincerely,

a . James K . H ckett ADVENTURES OF A PLAY 53

A fortnight later I bad word from Miss

Filkins . i Bloom ngton, Ill . , 12th 190 1 Feb . , .

My dear Mr . Shipman , ’ Arc I am very much pleased with D y. Al though P amela is not s t rong enoug h I h r charm t wo a for see e . me, One or pl ces r n for could be st e gthened her, and in no way hurt the play . i ’ My engagement with Mr . Sk nner s com 2md n pany closes in Chicago , March , the , if e we can agre as to terms , I would like to a make trial production in Philadelphia, Washing ton and Boston about the last Of

April . l r Please state your terms . With c eve no stage management and good cast, I see reason why we should not win .

Your play is excellent .

Very sincerely yours ,

Grace Filkins.

I stated my terms and asked for an early reply . 54 ADVENTURES OF A PLAY

2 d m 1 0 1 . . 2 9 Feb ,

in . I am a quandary, my dear Mr Ship an man . I cannot give you answer as to the acceptance o f your play until I consult i with my manager, to whom I w sh to read the piece . Moreover, this cannot take place t before March 8th or possibly 15 h . In the im meant e I will submit your terms . Will

Mr . Taber and Miss Marbury figure in this after your terms ! u see Please let me know . I tr st you will your way clear to wait . ul Yours tr y, G l i race Fi k ns .

To a playwright the way is always clear for that, with too Often a note such as the n Of followi g at the end his patient vigil .

i 1901 . Ph ladelphia, March 7,

My dear Mr . Shipman, I regret exceedi ngly having to return ’ ” c D Ar y. My wish for a fine production

and good cast is now beyond me . “ ” My backer is not willing to risk expen ADVE NTURE S OF A PL AY 55 dit ure on a play where I do not have the best part . I hope that you will appreciate that I at u tended to this the moment I ret rned home . Had the play been sent earlier it would have been settled when I was in Philadelphia five weeks ago . Thanking you for your courtesy and o f wishing you worlds success , Y u s c { o r ordially,

Grace Filkin s . CHAPTER III

N Speculative moments I have Often won d e o f er d at the lack solidarity, of sym coO erat ion ent hu pathetic p , Of disinterested siasm among the men o f my ow n profession . They are wanting in that bond that holds together the men Of science , the painters , ’ o f afl airs . the musicians , even the men i : Their ndividualism is rampant egotistical , assertive , secretive, they shrug at the suc cess Of an associate and smile cynically at his failure . And perhaps the reason is not so far to seek . It seems to be a matter of : standards the other professions have them , ours has not . Every playwright is his own, and stands o r falls by it . If he be a man of s ta te , cultivation, experience and training he acknowledges his allegiance to the best tra dit ion s Of the theatre ; if not , he measures himself by the yard - stick o f popular suc cess . The two types are irreconcilable, and i they indulge in reciprocal d sdain . Another 56 ADVE NTURE S OF A PLAY 57 and perhaps more subtly disintegrating in ’ flu ence is the fact that one author s failure ’ is t oo f Often his ellow s opportunity . The moment a play Shows signs Of weakening there is immediate pressure from a swarm o f Of competitors for the chance succession, and it may be but human that these com pet it ors hav e not always that remarkable and fine detachment that enables other ar ’ t ist s to glow with pleasure at an associate s success , and to sorrow at his undoing . Just at this time my friend Henry Miller had a disappointing failure in a play Of ’ “

H . . Mrs . J . Ryley s , Richard Savage I wrote to him and suggested that he try light comedy, even though his feelings at the mo ment were tragic . He answered

11th 190 1. Boston, March ,

My dear Louis , ’ Will you send D Arcy o f the Guards to me at once . I liked the story very much in book form . With all good wishes,

Sincerely yours ,

Henry Miller. 58 AD VENTURES OF A PLAY The following week I had this letter from

Hackett . i . 18 1901. St Lou s, March , i My dear Sh pman, I have read your play and like it very

. e much It is int resting and well constructed, a and I think has good heart interest . I o n i have already decided my opening b ll , and upon the play to follow it , and I am now u c c nder ontra t to produce these two plays . That would necessarily defer until the fol lowing season any possible production of ou your piece . If y care to tie up your script a until a year from next January, ple se com u t m mca e with me and we will go over terms .

I return your script , because you may per haps want to do something else with it in the meantime . I do not want to stand in your way of securing a production . I do not “ kn ow whether the su ccess of Janice Mere ” dith Or the production Of Richard Car ” ff ct u vel will a e yo r play in any way, though I wish for your sake they may not ; for my own that they had been produced first . I thank you very much for sending me

60 AD VENTURE S OF A PLAY

“ “ ” have had a facer with Savage , I am not ” flush, but now we are going into the ll woods I sha be all right, no matter what the play . We are sold out here and also in

Albany tomorrow night . o f i Wire me upon receipt this , Emp re i Theatre, Albany, tomorrow n ght, Ithaca ,

Wednesday . I am very pleased with your writing in l i the play, and shou d l ke to work with you o n o f a more important piece . The idea a spring production strikes me as favorable , c then I ould book a western tour, including

c . San Francis o , for the summer i With best w shes , i c S n erely yours ,

Henry Miller .

’ B ufl alo My feelings on the way to , after

i . this , were curiously m xed I could not sub Of due those elation, although by the read ing of all that has gone before, anyone can

' see that there was little license for it ; the only discommoding thoughts were those that played around Mill er ’s remarks concerning ADVENTURE S OF A PLAY 61

o f i act . the end the th rd I wondered if he , too , had balked at my romantic hero being worsted ; and whether the capital idea he had for building it up might not be for ’ D A rc P amela y to shoot , stultifying thereby re his heroic and romantic pretensions, but taining the centre Of interest . I promised t o myself, however, to be amenable every suggestion . The begging author cannot be : o f o f the chooser the ends his acts , the pith i his d alogue, the symmetry Of his scenes , melt away before necessity . He who enters

- the stage door, heart in mouth, leaves art behind . But I hasten to contradict this generali zat ion in the case o f the trembling aspirant whose play reaches the notice Of Henry Mil in ler . There is today the American thea Al tre no more stimul ating force than he . i ways sympathet c with the best, his single is aim to do the good thing, and, although o f he has produced his share bad plays , it has never been through any desire o n his part to take advantage Of the unintelligence

Of his audiences . Naturally, being an actor 62 ADVENTURE S OF A PLAY

and is mi s first, a manager second, he Often “ ” a led by fat part or a strong scene, but in

the main his judgment is sound, and his c taste corre t . He may talk wildly and at

random on occasion concerning Ibsen, but I have never heard the hated phrase “heart ” interest on his lips . During a day and a night in Buffalo we

discussed the play, and what he thought were the necessary changes for it : a new last act and a strengthening or building up

Of the climax Of the third . I agreed to his i suggest ons , and , having settled the busi o f ness part the matter, I returned to the

country to work out the new scheme . It is not a simple task to discard an act o f en a play, once it has be conceived, and has taken its place as an organi c part Of the ’ c whole , and that I was unsuc essful didn t i surpr se me .

i 16 1901. P a . Harrisburg, , Apr l , a My de r Louis , I am sorry I missed you on Sunday as I wanted to have a long talk with you about ADVENTURE S OF A PLAY 63

the last act . It will be utterly impossible to do it in its present condition, for all it amounts to now is about ten or twelve min ’ utes talk . I have booked five weeks in San Fran cisco, where I should like to produce it, and make it the feature Of the engagement ; also in the six weeks I have in the surrounding territory ; but until I get an act that I can see my way to produce, I can make no ar ’ t N ow i . rangement for , can t you settle down and give me something that is worthy of the preceding acts . As I wired you I shall be in town Sunday—tomorrow I play

a . York, Penn , Thursday Pottsville , Penna I hope to hear from you in o ne Of those towns . I will pay the railroad fares if you can manage to run over .

Sincerely yours ,

Henry Miller .

Jogg ed by this letter I did settle down and turned out the act as it finally stands ; and , as I read over the manuscript after a o f lapse twelve years , I have no wonder at ‘64 AD E V NTURES OF A PLAY,

’ Miller s dissatisfaction with the first version ; I only marvel at his consenting to produce the substitute for it . N O rehearsals o f the play took place in c New York, so after several onsultations Co with Henry Ogden, that avatar of the lonial c u u spirit, over ost mes, niforms and c scenery, I retired to the ountry to await the i event . There was someth ng Of the crude ness of a desertion in my not taking the c journey to San Francis o, but I had given “ ’ ” D Arc y the best of me, had stood by him loyally, and had at last found him a cap tain in whom I tru sted ; ther e was no need

further, at the moment, for my guardian Own u i ship . His good h mor and ga ety had f to su fice .

On May 2ot h I bad word by cable that that curious British proceeding, the copy 1 right performance, had been given in Lon in his i don, thus securing Taber Engl sh cau n ecessi rights . I say curious, be se it

‘ U nder the new B ritish Copyright Act this is no longer

necessary . ADVENTURE S OF A PLAY 65

tates the giving Of an actual performance Of the play to be Copyrighted on the stage c of a licensed theatre . The ost Of these pro duct ion s varies from fifty to a hundred dol C lars , but the opyright thus secured rests on a much surer foundation than any fur nished ur w by o o n country . As a preliminary to the presentation Of it any play in England, has to pass through the hands o f that much and rightly abused i public censor, the Exam ner of Plays, and with his favorable endorsement goes on to o f the office the Lord Chamberlain, from c e when e the license is issued . I giv here a C u opy of the license, which , s rmounted by G the arms o f reat Britain, and with its arbi t rary capitalization and suggestion of om n i ot ent Officialdom p , has the quaint flavor an l i i Of O den t me that appeals spec ally, I

e i t h i Of l s . th nk, to wr ter Colonia play

’ Lord Chamberlain s Offi ce It having been represented to Me by the Examiner of All theatrical entertainments that a typewritten Copy entitled 66 AD VENTURE S OF A PLAY!

“ ’ D Arcy Of the Guards being a play in 4 acts does not in its general tendency contain any thing immoral or otherwise improper for the o f Stage, I , the Lord Chamberlain His Ma ’ est s i Of j y Household, do by v rtue Of my fi ce and in pursuance Of the Act Of Parlia ment in that case provided allow the Per formance o f the said typed copy at your Theatre with the exception Of all Words and Passages which are specified by the Exam iner in the Endorsements Of this License and i w thout any further variations whatsoever, Given under my hand this 18t h day of 190 1 May, ,

G . . A Redford, i o f Exam ner Plays .

Clarendon,

Lord Chamberlain .

It was gratifying to have my rebellious al heroine , who is most flamboyant in her rep ’ robat ion of His Majest y s collateral anecs G - tor, eorge the Third, and my red coat o n cc i Irishman, who more than one o as on

68 ADVENTURE S OF A PLAY;

The next morning I received the aux iousl y awaited telegram from Miller .

c c San Fran is o, Calif

11t h 190 1 . June , ui i Lo s Evan Sh pman,

Windsor, Vt .

act d . First favorably receive Second, great ; eight calls . Thir d went all right . w t ’ Climax quiet, sho ing agains audience s sympathy . General opinion very favorable .

Play too short . First and second need

i . lengthening. D alogue went well Con l gratu ations . Henry Miller .

There was enough in this to afford a cer n ot tain assurance , if complacency, while for waiting further detail, which came some days later . ‘ e 15 1901 Jun th, . l Palace Hote , i c San Franc s o, Cal . D ear Louis, ’ D Arc fi n d I have waited to study y, and out his strength and weaknesses with the ’ CO STU ME PLATE FO R D AR CY OF THE GU AR DS BY HENR Y O GDEN

“ AD 69 VENTURES OF A PLAY.

c . publi , before writing you Here is what I im Observe . Act first makes very little pres u c few sion upon the a dien e . There are a c n laughs , and undoubtedly the s ene betwee i J ack and P amela should be wr tten up . n They (the audience) are i clined to laugh, and should be given some opport unity ; he sides, the act only plays seventeen minutes . .

Act second is a peach , and, at the end Of w that act last Monday night, I thought e i had a gold mine . But act third s wanting there needs another complication . The ’ shooting o f D A rcy does. not se nd the audi ence into a delighted condition, and the act falls flat, although there is considerable not laughter, and the play does seem to drag .

I made a change today at the end, and it went better . The last act goes much better than I thought, and the love scene at the close makes a marked impression . But the “ ” cold facts are these : Heartsease played “ to o n the week ; Importance o f B e I n g Earnest , with stock scenery, and a roy o f 100 k l alty $ per wee , drew whi e “ ’ D Arc c d y, which has far ex ee ed my pro 70 AD VENTURE S OF A PLAY

posed outlay, costing me to produce , has just finished its first week at nl The play certai y has had every chance , c both as to cast and produ tion, and I feel that we have a good piece o f property to

work upon, but much development must i take place . I w ll write you again . I am Off ou rushing this , as I know y will be desir o us to know more than my telegram told . Am sending enclosed a few clippings from W li ’ — it the eek es , which don t matter much k is the public I am loo ing to for judgment .

I hope yo u are well . We are in Los Ange “ ’ D Ar les next Monday week . Shall play ” re cy half the week there . With sincere Y ul gards , . ours very tr y,

Henry Miller .

I had to interpret this by the terms o f the - s i counting hou e, in wh ch it was written Oscar Wilde was better than my

Irishman, and Charles Klein there

fore the balance Of trade was in their favor . ’ c D A r y had overdrawn his account, and I , i as h s endorser, was called upon to make D 1 A VENTURES OF A PLAY .71 i good his deficiency . He ev dently had some ul amiable qualities , and it wo d be a pity to him see go into bankruptcy . This is what — — I gathered, and had not too buoyantly to ponder over . The following letter, from ’ Miller s business representative, lifted the cloud a little , and allowed me to see that it might at least have a German silver lining . Business representatives are n ot usually o p “ ” t imist ic unless the standing room only S ign is in requisition nightly .

n . 30 190 1 Los A geles , Cal , June , .

My dear Louis , Enclosed find royalty and statements for 4 performances Of week ending

29t h . June We now rest for weeks , and as soon as we resume I will remit you . The play is going fine, and you can rest assured that it is going to be a big winn er . We close D 2 l in enver, Aug . st, then direct to New

York, where I hope to see you .

Trusting you are well, believe me,

Sincerely yours,

F edris . J . M . 72 ADVENTURE S OF A P LAY

There was enough comfort in this to car ry me over the weeks that intervened until d I next hear from Miller .

A 1 ash u l 901 . W . Seattle, , g st,

My dear Louis , At last I have come to a decision regard ing and that after considerable rehearsing and trying different methods to Of make the end third act effective .

The play, as it stands now, is about two t e thirds good, but, unfor unately, the defe tive portion occurs just at the time an audi b ence expects the most effective scene . I e can if lieve you remedy the trouble, and, you our do, the play will put many dollars in is pockets , but, as it , I have no faith in its

c . TO su cess begin with , the first act needs ’ or D A r strengthening, elaborating, giving m cy and P a ela more comedy . What there is it goes well , but is all too brief, and the curtain drops leaving the audience unsat is

fi ed .

The second act is a gem , so good that ex N o pect an cy runs high for the next . w this

74 ADVENTURE S OF A PLAY weeks through territory where I have a fol

lowing, invite Mr . Frohman to see it , and

then a New York production . Let me know l by wire what you think of this . We shal 9th l ot h be in Tacoma Aug . , , then Salt on 12 Lake City the th . I enclose two small ’ o f D A rc photos y. i With best w shes ,

Sincerely yours ,

Henry Miller .

S O I Journeyed across the country in the l Of Of midd e August, to the rescue my

guardsman, with feelings somewhat mixed ,

and little Of hopefulness . o n Like Charles Lamb and Mary, that

memorable night and disastrous , when they “ witnessed the performance Of Mr . H . at D “ ” rury Lane, I sat next the tweedledees , ’ D Arc way down in front , to see y make pub lic exhibition of himself at the Broadway

- D . I Of Theatre, enver was in something a tremor, and I remember scanning the audi ence much as a prisoner in the dock might the faces Of a verdict - laden jury returning D N 75 A VE TURE S OF A PLAY,

t o o t t to their seats . I remember, , he comfor

I derived that night, before the curtain rose , from the fact that my jury was a packed o n e —i n a pleasant sense . The theatre was filled with a typical pro v in cial American audience, that curious ,

- i good humored , responsive , un ntelligent con l glomeration , that night after night fi ls our

playhouses by the thousands . Night after

night, year in and year out, these thousands pay more money for their play- going than all the other theatre - going people in the

world together . And, when one has stated

- this characteristic, all embracing statistic, o n e has exhausted the superlative commen dat o r y. For, in the last bitter analysis , it is o f this huge, crude, inchoate mass theatre I n goers , scattered continent wide, that is great part responsible for the present low estate Of everything connected with our : hi e drama the deous , uncomfortabl theatres ;

the ignorant , illiterate, commercial manage ment ; the ill - trained actors ; the worse : sum o f trained authors the whole our raw, c i at tribu unbeautiful , inartistic ond tions is 76 ADVENTURE S OF ' A PLAY

t it and t t t table o , to no o her cause . Bu he very size and st ubbornness o f this unwieldy o f mob, with its gleams intelligence, its quick i i and ngenuous sympath es , its rare intui

tions, and its eagerness to be amused, make

the fight against it, and even the numerous i i i defeats , nsp r ng to all those , and they are

not yet many, though steadily increasing in

numbers , for whom a play is not merely a “ ” S feeble , vapid how, but a transcript and

criticism Of life, be it cast in the whimsical , o f o r gay form fantasy and farce, in the o f more orderly, more closely reasoned form

comedy and tragedy . l u Having been diverted by tweed ed ms , “ I now return to my position near the twee ” d de s r Of le e . , and the memo y my tremors The recollection o f them comes back to me with more force than my impressions o f the

performance . How I shivered, and went cold and hot at the thinness and banality of the humor ! What gratitude filled me at the c ease and nonchalan e with which Miller, a

very handsome , gracious figure in his scarlet and i i wh te , gl ded over the slender, tenuous ADVENTURE S OF A PLAY 77 i t i i situat ons , and, a the wh ms cal , purple faced, spluttering figure, irresistibly comic o f Gre r before he uttered a line, go y, in the hands Of that delicate little comedian, Fred l i in Thorne . In fact, a most every feel ng, cluding the shame at my own part in the performance , was swallowed up in the feel ing o f indebtedn ess I had to the whole com for pany, their patience, good nature , and S i kill, in handling the meagre mater al that

. t oo o f was given them I was conscious , , how the whole had been built up , extended, e l elaborated, rounded into shap by carefu and simple stage management . So that it was a chastened and rather hum ble i author who presented h mself, after the ’ l c in fina urta , at the door of Miller s dress - H h ing room . e was beaming as e grasped “ my hand . It was fine, my boy ; eleven hun An d dred dollars in the house . they took it like candy !” ni The following mor ng, owing to the Of amiable notices the play in the papers , the following bill was hastily printed and spread over the city : 78 ADVENTURE S OF A P L AYI Look ! Owing to the great success of HE NRY MI LLER

and His Company, in the Romantic Comedy “ ’ D Arc G y of the uards , The engagement has been extended

Saturday evening, with a Satur t day ma in ee .

The five performances that followed ” The Importance o f Being Earnest was — given for o n e night were invaluable for giving me a line on the alterations that were — o r ad necessary , if not necessary, at least visable . I watched them closely, and night l l y, after the play, Mil er and I compared

on . notes , and decided changes Fred Gre or Old Thorne as g y, the surgeon, was i too quaint and amusing, so we dec ded to sacrifice him and as many of his “good ’ D Arc lines as possible to y, and whatever the other difficulties they were easily reme Of died, save the ending the third act, which was a stumbling block and always remained ADVENTURE S OF A PLAY 79

t it so . Whether it was my faul or whether was attributable to the timidity an d evasiveness with which both Miss Rockwell i l and M ller hand ed the scene , I never could it u nsat isfac decide, but always remained tory to everyone on both sides of the cur tain . CHAPTER IV

HERE was something like four weeks between the closing o f the season in Denver and the call for rehearsals in New li York, during which time I had been po sh ing, rearranging, and tinkering . A few minor changes were made in the cast, and l Mr . Walter A len succeeded the comical Gre r Fred Thorne as g o y. The first performance of the revised play was given in Syracuse at the Wieting Opera

on t h 190 1. House , October 7 , And it was an occasion Of considerable importance to o w n Miller ; for he was his manager, that is his own money was invested in the produc tion, and unless a manager has a New York “ ” theatre o r controls what is called time in o n e , it is a venturesome proceeding to pro “ ” au duce a play on the road . Provincial diences re are very shy of new plays, and 80

ADVENTURE S OF A PLAY 8 1

fuse t o patronize them unless they have had New York approval ; and the New York i un manager s very loth to open his doors , u less substantially g aranteed, to anything “ ” that has not played to standing room only in Atlantic City, Scranton, Middletown, or “ ” whatever particularly patient dog the O piece has been tried on . S Miller had booked a tentative season o f four o r five weeks near by New York with the hope that a successful impression on smaller towns woul d enable him to gain a hearing before the audience which all actors , authors, and or managers wish f and dread the most . The Syracuse performance succeeded our well beyond doubts , and the first bar rier seemed cleared for a descent o n the me t ro olis it p , but was imperative that some important New York manager should see

the play and pass judgment . If anything were Odd or seemed out o f the ordinary in i ul the theatr cal world, it wo d have struck me as singular that circle o f ad ventures shoul d now have swung around t o almost the original starting point : Charles 8 2 D A A VENTURE S OF PLAY.

Frohman ; for upon his decision rested the opportunity of a New York opening . Frohman and Miller had been friends for a d years, friendship that had starte when o n e was the business manager and the other leading man in a company travelling in the di West . I have Often been e fi ed by the tale that Miller tells o f youthful confidences one t that were exchanged, nigh after the o f play, as they walked the streets San Fran “ ” “ da cisco . Charley, said Miller, some y I mean to be leading man in a New York ” “ stock company . And some day, Henry, I intend to o wn a theatre in New Y or o f was the modest reply the little man, who has since become the most important fig ure in the theatrical world of England and America ; and doubtless both had mental reservations as to the fatuity Of the other . f i It was di ficult, however, for even M ller to persuade such a busy manager to run o ut him of town to see a play, which he had self repeatedly refused to produce, though probably all memory o f that had escaped him ; but an amusing and fortuitous circum ADVE NTURE S OF A PLAY 8 3 stance added to Miller ’s persuasions finally brought him . I give the incident here as an example of the slender thre ad from i o f which , at t mes , the fortunes a play are suspended . The series o f suburban performances had brought the play to Elizabeth , New Jersey, and it chanced there to make an impression o n an enthusiastic member Of the staff o f the New York ‘Evening Sun ; so much S O that he persuaded the regular critic o f the D him paper, Mr. Acton avies , to let write o f it t o a notice , which he did the length “ i : Of a column, and beginn ng Mr . Henry Miller is now playing o n the road with a ‘ ’ well drilled company in D Arcy o f the ’ G o f uards , a comedy the Revolutionary — Mr . War, by Mr . Louis Evan Shipman Miller appeared in Elizabeth o n Wednesday u evening, and scored a prono nced success on the merits of the new play, and the manner ” it s of presentation . This was the prelude e to a very appr ciative little criticism, which “ wo und up with the following : With such a play and company Mr . Miller may ven 8 4 AD VENTURE S OF A PLAY!

ture to face a metropolitan audience with ” t o u concern . On the very day following the publica

i ill c on t on Of this, when M er alled Frohman, the latter was found perusing the Evening ’ “ Sun s notice . If you can get a notice like that out o f Acton Davies you must have a ‘ good show, he said . And it was less than a week after that that he went up to New

for m Haven to see hi self . I may add here

that, although I have produced several

plays since then, I have never had so good “ ” a notice from Acton Davies as the one he ’ didn t write . ’ A S a result o f Charles Frohman s visit to New Haven I received the following tele 26t h gram, dated from there, October , 1901 :

‘ ’ ’ G D Arc ood news . y goes to New York

in No . vember, perhaps Boston before Keep this strictly confidential : important business

reasons .

H . . M ADVENTURES OF A PLAY 8 5

This was followed a couple o f days later by the letter below :

i N ew . Br tain, Conn h 1 01 29t 9 . Oct . ,

My dear Louis, I have not had a moment to sit down and tell you the details o f our prospective New

York engagement before now . Mr . Froh “ ’ ” man saw D Arcy in New Haven last F ri day night, and Of course the pistol refused our v ul to fire, so we were struck in most n rab e le spot . After performance we supped a together, and at the same time he g ve me i o f his mpression the play, beginning by say ing that we had many good things in it . The first act he thought was weak and amateur ish , and needed rearranging and rewriting, making the intrusion of the British more ap Of parent, the excitement all greater, and ’ ’ especially preparing them f or D A rCy s brogue, as he says it takes some little time — to realize what I am driving at this is on rather rough me . The meeting between ’ P amela and D Arcy shoul d make a marked ” ” “ 8 6 ADVENTURE S OF A PLAY; i i mpress on upon each of them, no matter how strongly she fights against the favor im ession able m he has made upon her . C . a F . feels that neither char cter at the end of the act has betrayed any hint of what is ’ u D Arc to follow, and he s ggests that I , as y, do all the heroics ; but it will take too much time to write you all he said concerning it . From the declaration of love in Act second to the exit Of the officers in Act third he was delighted ; then he felt we lost all grip and did not recover it until the final love scene . But t o sum it all up he believes that in New o f Y ork, after Act first, the feeling audi l ence wou d be tolerant, at the end of Act

II . delighted, and continue so until five min u tes before the end Of Act III however, he thinks that difficulty here can be reme l in died, and will conduct the rehearsa New i York h mself before our Opening ; but, as he it saw on Friday, he says metro politan career woul d be brief. The las t act does not bother him as the play will have succeeded o r failed before that ; so our stum be bling blocks are the first act, which can

8 8 AD VENTURE S OF A PLAY

The surmise as to our Opening date at the Savoy was three weeks wide o f the mark ; and it was not until the sixteenth o f D e cember that we took possession of the little

- - play house on Thirty fourth Street . In the meantime I wrote a new scene for ’ ‘ Ar P am la in D cy and e the first act, and Miller an d I daily struggled to cast a sym pathetic glamour Over the dastardly out rage that P amela perpetrated every time she shot so amiable and Winsome a person as ’ J ack D Arc i y. M ller mentions in the let ’ misfi red ter I ve just quoted , that the pistol at the crucial moment on the night that Charles Frohman saw the play in New H a ven . This mishap Often occurred afterward, and was blamed always on the property man ; but I have Often thought that the real cause was Miss Rockwell ’s constant distaste at upsetting all laws Of the romantic drama by the shooting Of so gay, and lovable, and i a ngratiating hero . If she could have but riddled the villain it would have been dif ferent ; but my little comedy had no villain — e — sav the property man connected with it, AD T Y 89 VEN URES OF A PLA , and therefore romantic actors and romantic O f i actresses , to say nothing romantic s tua ff tions , were forced to remain ba led . I well remember the day that rehearsal was called for the inspection and direction o f the redoubtable C . F . The company was separated into nervous little groups about i i the d mly lighted stage, all peering anx ous o f ly into the gloom the auditorium . There was even a certain perturbation perceptible in Miller, and , as for myself, candor com pels me to record that I was neither nervous flurried r nor ; I had , rather, a cool, cu ious o f expectancy . I had heard often Charles m ’ Froh an s masterly stage management, his extraordinary resourcefulness and sugg es t iv eness for author and player alike , and I was all eagerness to see the magician wave his wand . When he appeared , accompanied

. mis iv by Mr Edward Rose, I had instant g ings that the wand might turn out a broken reed and misgi vi ngs were somewhat justi fi ed by the event . His good nature and af fabilit y were iIn pregn able and his patience i d ill mitable , but I gathere after the first re 90 ADVENTURE S OF A PLAY

hearsal that his main idea was that Mr . Rose should dramatize my play . In all the inno cence o f outraged young authorhood I com plained both loud and deep to Miller, and was quickly quieted and comforted by the “ cynical wisdom of his reply : This is his ’

. We ll own fun ; let him have it i play it our way when the time comes .

He had his fun for the whole Of a week, and the sum total o f his suggestions was em bodied in a drum and fife playing Yankee Doodle behind the scenes during the first o f act, and the plunging the scene , at the o f - end that act , from a mid day glare to a

- mid night darkness , so that a spot light ’ directed on D A rcy would illumine the “ ” marked eff ect that P amela had made upon o f him . The shades night never fell so fast, ff “ ” and the e ect was marked, though not i “ entirely convinc ng . As for Yankee D oo ” dle , it was heard no more after the first performance . The glamour which surrounds a first night borrows something o f its glow from the thea ’ tre s rare tradition, a tradition that itself ADVENTURE S OF A PLAY 9 1 has been rendered artificially bright, per haps by association with discriminating if ’ - afl ect ionat e play goers . From Pepys to our ow n Hazlitt, down to time and con temporaries , Walkley, Beerbohm and Win t o o f ter, name at random, the charm the chronicler has communicated itself to what o f - inhab he wrote , until the play house, its it ant s , and that high occasion , a first night, take on something Of the beauty and mys t e r o f l y things apart, with all their specia sanctions and appeals . Viewed in the beginning from very high places in New York theatres something over thirty years ago, but later from lower lev els and more intimate angles , the first per formance o f plays has always had a very rare quality for me ; even in these later years when I am subtly conscious that some o f is the bloom gone from such festal occasions , “ “ ” in gone from both fron and behind, yet Old re the thrill, scarcely modified, still spon ds to the exultation Of the always mem orable , always hazardous moment before the i i curta n r ses . 92 ADVENTURE S OF A PLAY!

The New York audi ence lends neither di l c gnity nor bril ian e to these events . Rep resent at iv es Of the other arts woul d be co n spicuous by their absence but for the fact that they have never been present ; the State is represented by some prosperous Tam many politician : an inspector of gas meters o r what not ; the Law was fo r years con t inually accounted for on fir st nights by o ne whose enforced and seclusive retirement was deemed necessary recently by a jury Of his fellow citizens ; and Society, that gay and gilded chimera Of the American news papers , passes unostentatiously to two aisle seats in the front row, and ruminates quietly “ o n what to have for supper after the show . Henry James has described these congre “ g at ion s unerringly as the omnium gather Of o f um the population a big, commercial city, at the hour Of the day when their taste i out o f ho is at its lowest , flock ng hideous tels and restaurants , gorged with food , stul t ifi ed with buying and selling and with all o f the other sordid preoccupations the day, ueezed e in s i di s Sq tog eth r a welter ng mass, ADVENTURE S OF A PLAY 93

in e i appointed th ir seats, t ming the author, timing the actor, wishing to get their money ’ o n c back the spot , before eleven o lock, “ a and adds pathetic lly, Fancy putting the exquisite before such a tribunal as that !” If there were to be a feeble query as to why the glory that surrounded and perme D ’ ’ ated a first night at aly s , Wallack s , The

Union Square , and the old Madison Square, has faded and flickered to the present dim f it i a fair, could be answered w th the brief o f c o f story the de lension the individual, trained and more o r less cultivated manager o f D P ahn er of the type aly, Wallack and e mmercialized r sent . co to the p management, completely detached from every artistic and intellectual movement in the communi ty and n oblivious, through ig orance , that there are standards o f taste and beauty and excel i lence that a cult vated audience demands . But the fault hes not entirely with these market-place managers ; a goodly portion of it may be laid at the door o f those who have o f allowed so rare a form art, so ennobling a o f c i i means edu at on, and so nnocent a 94 ADVENTURE S OF A PL AY

o f form amusement, to have been laid hold o f by those whose only object and instinct o f has been that mere money gain . I do not blame the commercial manager ; he has nl o y followed his instincts , and developed the theatre, as a business man would, with indefatigable perseverance and astuteness .

But I do censure those who by their power, i : our - fin an intelligence, and nfluence super our ciers and inordinately rich , the heads of learned societies and institutions , and the cultivated few who strain their eyes to far away continental horizons ; to these belongs f o r the greater blame , they were in a posi tion to prevent the theatre from being it dragged down , and they yielded to the hucksters who now administer it . Their belated and pathetic attempt to pat ron ize the dr ama at The New Theatre is t o o recent for unprejudiced judgment .

Tears , mingled with laughter, struggle to bil prevent commentary . The sight of our hon aires erecting a three -mill ion - dollar thea D tre, inadequate for anything save a rury

Lane spectacle, and then turning it over to

96 ADVENTURE S OF A PLAY

d w as i l emotion was ormant, and I s mp y coldly and critically aware that I had placed a great burden on a very charming, capable o f m group actors , and that both they and y self were being t reated with amiable con a c sideration by large audien e . At the end o f the third act this amiability followed the path o f custom and broke into calls for “ ” o f author, author ; but a sense something, if u not h mor, prevented me from joining that long procession o f ridiculous figures that from time to time o n the slightest provocation bow their frozen ackn owledg ments to the perfunctory plaudits o f their i first night audiences . It requires the mper t inence o f an Oscar Wilde or the imper t urbabilit y o f an Augustus Thomas to tri ill umph on such an occasion . M er very humorously sto od sponsor for the self-con scious author in an amusing little S peech and added once again t o the sum o f the obli t i g a o ns under which he had placed me . If the first three acts of a four- act play o r happen to amuse interest an audience, the! fourth has t o be very bad t o spoil the earlier ADVENTURE S OF A PLAY 97

i i c c i mpress on . On e safely by the l max o f

your story, you may tie up the struggling c ends, point your moral, and ome to a con elusion without the fear that a misstep will

' ou plunge y into the abyss . So the final curtain fell with nothing to disturb the con ’ v ict ion that D A rcy was at least considered e l u il l a pr sentab e fig re . He was m d y amus

ing to Law and the State, and he had done nothing to affront the intelligence o f S o ciet our o f y ; personal friends were, course,

charmed, and there was no further lack to our pleasure and content but the verdict of i that omn potent, judicial group , the news i i paper cr tics . For that We had to wa t on

the morrow. C P VJ HA TER .

EITHER Miller nor myself spent a sleepless night following the opening in New York . We felt assured that the critics would hardly care to break so modest - o n but t erfl - and a moth miller their y wheels , the prevision had more or less warrant in c d c the event . There was a certain on es en o f o f sion in the best the notices, and lack in W i comprehension the orst, that ne ther ex us alted nor depressed very much , but, when

‘ ’ o ne st u fi ed is running the gauntlet, clubs are preferable to bludgeons and we felt that we had come through the ordeal rather for t un at el y. D i o f espite the modest recept on the play, the advertising department of the theatre out broke rashly into exclamation points , and the usual banalities o f the press -agent 98

ADVENTURES OF A PLAY 99 ” “ N ew York Surrenders ! The Romance ” “ Hero o f the Day ! Second Crowded ” ! o f Month this last, at the beginning the absurdi third week, were but a few of the ties . However, the New York engagement served its chief purpose in enabling Miller to book an excellent tour through the coun try . On January 3 l st he wrote me : I have l for a bully route, especial y you, as you are

not concerned in the railroad fare . Chi cago ought to be and Philadelphia on ou driv the two weeks , so I see y - - a ing a four in hand soon . Th t is the goal ” o f my ambition . I am not yet driving the sa coach and four, but I am glad to y that G he is . The season closed at the rand Opera 3rd a House, New York City, May , fter some t wo hundred and fifty performances ; and since then by various stock companies it has been played in nearly every town and

city in the country, something over four

hundred times ; and Mr . Miller himself re v iv ed it for a short season, with Miss Anglin o f P amel playing the part a. 100 AD VENTURES OF A PLAY i i i All of wh ch betokens a certa n vital ty, a vitat that has carried the play through o f l a further series adventures in Eng and, which should be as instructive to an impa tient and perhaps di sappointed dramatist as t ec any hing I have r ounted heretofore, and i now which I w ll proceed to relate . l u It wi l be remembered that, before I co ld ill t he e i i give M er Am r can r ghts to the piece, who I had to negotiate with Taber, con for ic trolled them both Amer a and England . The matter was arranged by my paying Taber one hundred pounds and extending the time limit o f production in Englan d D c 15th 1902 D c from e ember , , to e ember 15t h 190 4 i if , , on wh ch date he had not pro duced the play he was to pay a forfeit o f o n e D c 29t h hundred pounds on e ember , 0 19 3 . Two years after the original produc tion in New York I received the following

note from Henry Miller .

My dear Louis , ’ D o you control D Arcy for London ! I f

i e . le se so , I bel eve I can place it th re P a

102 ADVENTURES OF A P LAY

Meanwhile Mill er was trying to find out who it was in England that w as interested in the piece . From a conversation with w as Mrs . Langtry he thought it Martin fol Harvey, but was not sure ; however, the him lowing telegram set straight .

14 1904 San Francisco, January , . ’ a Henry Miller, Pl yers Club , N . Y . i You misunderstood me . It is Lew s Wal wa ler, Imperial Theatre, London, who nts to read the play . r Lillie Langt y .

So the following day I wrote to Lewis o n 29th c i t he Waller, and January re e ved following cable :

nd 29 1904 Lo on, January , .

Shipman, ail i Please m manuscr pt,

Waller.

This was followed ten days later by a let

ter evidently sent just before the cable . ADVENTURE S OF A PLAY 103

Imperial Theatre,

2 th 1904. January 8 ,

ouis n S i . L Eva h pman, Esq , D ear Sir, I am extremely obliged to you for your o f 18 t h s t letter the in , and should very much “ ’ u D Ar c o f like to read yo r play, y the ” Guards ; if you will have it despatched to

u . me here by ret rn mail, I will read it at once i To be perfectly frank w th you, my de cision as regards a production will depend ma on the royalties yhu ask . So y I ask you t o make them as low as possible when quot in g to me . d sir I am, ear , =Y ours truly,

Lewis Waller .

The manuscript was immediately for warded, and I wrote that there would be di uld ac no scussion about terms, as I wo cept his usual fees

It was less than three weeks when I re ceiv d e another cable . 104 ADVENTURE S OF A PLAY

u 1 1904. London, Febr ary 7th,

Shipman, Windsor, Vermont . If play free offer 2 00 pounds advance fees and 5 per cent all through British rights . Cable reply . ll Wa er .

I did not understand that “if” in this com muni cat ion ao , but I cabled immediately my e t a c c p n e . Two days later I was enlightened by another cable .

F ebruar . 19th 1904 London, y , .

Shipman, Windsor, Vermont . Marbury ’s London Office affirms Taber has D British rights till next ecember . Kind l c y deny or onfirm .

Waller .

To which I repli ed : Taber has given up ’ f rights . Marbury s o fice has nothing to do with I did not know at this time that Taber as on his w in New York, what proved to be

10 6 ADVENTURES OF A PLAY fer to release the play . Neither could I understand the interference o f Miss Mar bury ’s London office in a matter with which they had no concern . I understood bet ter i later on . The follow ng week I learned from the following telegram that Taber was in America .

24 1904 . New York, February ,

Louis Evan Shipman, Advised from London office you are clos in l n g with Wal er, Taber ow s till

him. U r December . Taber here , should see gent . l u E isabeth Marb ry .

I at once wrote to Taber explaining the at situation, and received word from his

. B u torney and close friend, Mr Charles C . r in ham : l g , as follows the theatre of the very highest he was stricken at a time when the Opportunity for their amplest expression was just i n m within his han d . R egret for this is so e part assuaged by kn owledge of his very large an d very admirable aecom i hm nt Ma m h Am n pl s e . y those to who the istory of the erica theat re is mat t er for pride not soon forget o ne who repre n an d o c Se ted carefully pr te ted its best traditi on. ADVENTURE S OF A PLAY 1072

2nd 1904 New York, March , .

My dear Mr . Shipman, c i d Your telegram and letter I have re e ve . I am sorry there has been so much trouble about Cables have been flying be tween Miss Marbury’s London and New

York office , and as Taber is pretty sick I have not bothered him with them and have tried t o work it o ut by my feeble recollec

tion of conversation with him . Your tele gram made it perfectly clear and I tele

phoned to Miss Marbury to that effect . As you suggest I have prepared a mutual re lease and will have Robert execute one for ’ o u y . I haven t the contract by me, so made

it in general terms . Robert says Waller is fi rst - ill a rate man, and no doubt the play w

be a great success . er V y truly yours , i Charles C . Burl ngham .

This settled conclusively the possession o f

the foreign rights , and the letter which fol lows explains how Miss Marbury’s London representative disingenuously tried to place 108 AD VE NTURE S OF A PLAY himself in the position o f sponsor for the t he e i sale of play to L w s Waller .

N ew 1 904 1 . York, March , i D ear Mr . Sh pman I have bee n in receipt o f several cables and letters from my London representative “ ’ in regard to the English rights o f D Arcy ” o f G . the uards When Mr . Taber was abroad he put the matter of subletting the G i c in o f . . pie e the hands Mr R olding Br ght , f at the head of my London o fice . Mr . i in c u Br ght got omm nication with Mr. Mar tin Harvey and while negotiations with him were still pending Mr . Waller spoke to Mr . in in Bright regard to the play, and later i formed Mr . Br ght that you had accepted ’ Waller s offer o f 200 pounds in advance o f c Mr . Bright then abled to me to see a both you and Mr . Taber, as the l tter had D the English rights un til ecember . It was at that time I wrote you and received your reply that you had settled the matter with ’

N ow . Mr . Taber . , Mr Taber s representa

i e . u li i d t v , Mr B r ngham, nforme me that

110 ADVENTURE S OF A PLAY

of i i put the matter leas ng the p ece in Mr . ’ Bright s hands . When the word came from

Waller that you had accepted his off er Mr . Bright naturally could not understand how such could be the case when he kn ew Ta ber was owner of the English rights until D i ecember . As I could not defin tely find o ut until this morni ng that you had released Taber I was unable to solve the difficulty i under which Mr . Bright was labor ng . Now, in i as you will readily see, I have real ty been representing your interests in finding out

an d from Mr . Taber about the release in making clear the situation to Mr . Bright re so that Mr . Waller need not be tied up in i u gard to the piece . Under the c rc mstances I trust that you will allow us to continue “ ’ ” to represent your interests when D Arcy is finally produced in England, as the work up to now has been passing through our

is dl hands . It nee ess to assure you that we will watch your interests conscientiously and carefully . I shall esteem it a favor if you will let me know your decision as to my ADVENTURES OF A PLAY 111

c le . i position, so that I may ab Mr Br ght definitely . i i d W th k nd regar s, onrs N sincerely, u Elisabeth Marb ry .

’ d c i i i d . G I have es r be Mr R . old ng Br ght s attitude in the matter as disingenuous as he never could have had the piece for di s a posal in England . Paragr ph six o f my i c e contract w th Taber, whi h I hav printed l a further on, expressly stipu ates th t he, Ta “ or cir ber, shall not at any time under any cumst ances sublet any o f the rights under this contract or any portion o f such rights nor transfer this contract to any other party at any time or under any circumstances with out the written consent o f the said party o f the first part o r his authorized agent . In the circumstances therefore I hardly felt ’ justified in paying to Miss Marbury s o f fi ce o n a fee of ten per cent . all my royalties , G i simply because Mr . R . old ng Bright had been more zealous than serviceable . As the event turned out it woul d probably have 112 AD VENTURES OF A PLAY

’ been much better for the fortunes o f D Arcy ns i in in England , if I had co ented to th s i d rect request for baksheesh . Arrangements with Waller were com let ed o n e o f p rec ipt the following letter, 20 1904 : dated February ,

Imperial Theatre .

Louis Evan Shipman, Esq . , D ear Sir, I am obliged by your prompt reply to my

‘ cablegram . I enclose a copy of my firm o f

fer to you , and your reply by cable, notify ing the acceptance o f these terms . I am somewhat relieved at your answers to my fi query of yesterday . I now beg to con rm

cablegrams . I think it will be better for you m to have the agreement drawn up in A erica, which as far as I can see need only be of a i £200 very s mple character . I give you in advance fees for the above play ; the royal ties to be 5 % all thr ough on the gross

weekly receipts , to be paid weekly to you o r your authorized agent ; the play to be my

114 ADVENTURES OF A PL AY

c d d il 4th other able from London, ate Apr , 1904 : . It reads

i Find impossible produce play . W ll you accept forfeit and all rights . Cable terms .

Waller .

And in reply to my answer came a letter which I was enabled to understand by the

R . Golding Bright light which shone upon

it .

Imperial Theatre, t h i 1 04 9 9 . Apr l,

i . Louis Evan Sh pman, Esq , D ear Sir,

Mr . Lewis Waller desires me to thank you for your cable saying that you will ao ’ cept £100 forfeit and all rights in D Arcy

o f G . the uards . Mr Lewis Waller wishes me to express to you his great regret at not seeing his way to produce your play, but he found at the finish that it was too slight for ll this theatre . He thinks and hopes you wi AD VENTURES OF A PLAY 115 have no difficulty in placing it in other a h nds.

l Lyston Ly e .

All ic i c e uanim of wh h made for pat en e , q it y and the quiet mind, but also , on my w as part, for a mild curiosity ; and when it announced that Waller would produce an i “ ’ ” other Colon al play, Elizabeth s Prisoner “ ’ o f D Arc o f instead y, I made inquiry a in friend London as to the reason, if any, o f for the sudden alteration plan . I quote “ ‘ from the reply : Waller weakened on Eliz ’ ’ ab t h e s Prisoner after New York, and his — ’ syndicate followed then they read D Arcy and over strongly urged it, and somehow got ’ ‘ ’ Waller s back up . The authors of E . P . ” and Marbury did the rest . Mild curiosity was mildly satisfied and i rather obvious surm se justified .

i su Mr . James K . Hackett at this t me g gested that I turn the play over to his repre

ent at iv e in . i s London, Mr Frank M lls, 116 ADVENTURES OF A PLAY which I did with instructions to use his own

judgment . I had no suggestions to offer ; in fact I was filled with a curious dubiety

after the strange elusion of Waller, but with little foundation as may be seen from the following cable :

28 1904 London, May , . Arranged with Alexander following : u terms Two hundred po nds advance, five

per cent . to seven hundred , seven and half

next three , ten all over . Not later than third

production . Cable approval .

N ot later than third production meant Al — G — that Mr . exander now Sir eorge had i the privileg e, accord ng to the agreement , of making two productions before he did “ ’ D Arc r y. This was ag eeable to me, so the d contracts were signed, the two hundre on pounds advance royalties paid, and the “ ” death watch set on the programme o f ’ i the St . James s Theatre . T me slipped by, it wil one is as l even when waiting, and the

CHAP TER VI

TH the lapsing of the Alexander a in contr ct, my hopes and interest a London production o f the piece faded to nothing, to be slightly fanned into flame i by a letter such as the following, which M lls forwarded to me :

D i . 8 t h 1 05 9 . ubl n, Nov ,

My dear Mills , I read the play some little time ago and thought it charming but thin . Am I to um d erst an d that you have the disposal o f the ou play, and if so will y tell me what the terms are ! i With k nd regards , believe me,

Sincerely yours, i Mart n Harvey. 118 AD VENTURE S OF A PL AY 119

“ ’ ’ ” D Arcy s thinness must have overcome his charm, for I heard nothing further from

Mr . Harvey . Time slipped by as it will even when o n e ’ isn t waiting ; more plays were written and “ ’ ” d Arc . D produce , failed and succeeded y and on was forgotten neglected, save occa sion when he emerged and was played by the young ladies o f Bryn Mawr and Bar ’ o r nard Colleges , filled a week s engagement o r in stock in Salt Lake City Portland,

Maine . Four years passed, and then Henry “D ’ ’ ” Miller, destined always for Arey s tute lary sponsor, once more intervened . He was playing an engagement in L on Al a don at the Adelphi, and meeting ex nder asked him why he had never produced the piece ; and whatever else he may have said resulted in the following cablegram, with one which I was startled autumn afternoon .

N ov 11 1909 . London, . ,

Louis Evan Shipman, “ ’ Wish to do D Ar cy next new produc our tion, terms of old contract two hundred 120 AD VENTUR E S OF A PLAY

already paid being in advance of fees . Al exander, ’ St . James s Theatre,

London .

Which meant that the two hundred

old pounds advanced under the contract ,

on . and forfeited , was to apply the new This suggestion was acceptable and I so re

o f plied , asking for the probable date pro duction ; to which the cabled answer was, ” February ; a period at which not even im patience could cavil . The following letters which came closely o n the above cable were a prelude to the most pleasurable experience I have ever had

in . a my profession After good many years , more or less occupied with the affairs o f the Am erican theatre, there was a strange, revelatory surprise in having a play dis

- cussed , not in the terms of the market place , but from the point o f view of o n e artist to another . Consideration , tact , and sympa thetic appreciation were shown at every turn

122 AD VENTURE S OF A PLAY complished young American actress you ul P amela ! co d recommend for Yours, G Al eorge exander .

G a Toll ate Cott ge, 2 0 Charle o od 6 D ec . 19 9 . w , y ,

Herts . i D . ear Mr Sh pman, Thank you for the book and the copy of the play . Has the novel ever been published in England, if not could I arrange for the publication at about the same time as the — production o f the play I think the o ne D ’ would help the other . on t you think the ’ little quarrel between D acier and D Arcy o n page 196 is a good incident for the stage and might be introduced with advantage ! a I do . I think it will be well to have a re l am a darkie for S b . The models o f scenes for acts 1 and 2 are completed— they are both delightful—the garden and house quite a thing o f beauty . Macquoid has done beautiful sketches for costumes . I have a great success in my revival of

124 ADVENTURES OF A PLAY

There had been many ventures in those two decades since t he modest and successful li experiment with ang cized French comedy, and as I sat that eveni ng watching the very admirable performance o f the best farce

that has ever been written, memory drifted back with growing trepidation over the fa mous group that had first come to life o n : Gu D omville L rd the stage before me y , o Windermere Aubre Tan uera S ir , y q y, Geor e L am rant L rd S t Orb n S ir o . g , o y , Valen tine F ellowes t he I dler R assen d l , , y , Vill n o f o , besides a host distinguished others ; and I seemed to see and hear the in m J hn W rt hin i i itable o o g , ga ly, quizzically

introducing to them a slender, booted figure,

in scarlet coat, and cockaded beaver, the hilt o f his sword and his brass gorget gleaming “ i ” romantically . Th s , gentleman, he said, “ ’ Ma or D Arc G is j y of the uards , whose excuse for being in such a company as this c I have been unable t o dis over . However, — as it is something a matter o f hands and arms o f across the sea, and the color his ” c a him . o t is correct, I commend to you To SIR GEORGE ALE! ANDER As ’ MAJOR D AR CY

‘ 2 D 1 6 A VENTURE S OF A PLAY.

in and for me the theatre one afternoon, the band assembled to play the music which he had had arranged for the production . i l Everything was done, wh ch cou d be done , to spoil an American playwright for the in exorable conditions that confront him in his ow n country ; conditions that are mitigated only by a rare few . Notwithstanding the complete prepara “ ’ D Ar c tions for y, the success of the revival “ ” o f The Importance of Being Earnest called for postponement o f any new pro Am duction, and I sailed for erica with mixed feelings of disappointment and grati fi cat io n , and treasuring the remembrance of courtesies and hospitali ty that will last al i ways . Shortly after my return I rece ved the following note

5 t t 7 Pon S reet,

l . March st . S W.

D . ear Mr Shipman, I am glad you have pleasant dreams of your London visit, and hope we may see you “ ” i again ere long . Ernest still goes sw m ADVENTURE S OF A PLAY 127

' min l and look s g y like lasting the season out . I hope the dear public will do the same for My wife joins me in kindest re membrances,

c Yours sin erely, G Al eorge exander .

An d a month later this

’ St . James s Theatre, ’ King Street, St . James s , S . W.

My dear Louis Shipman , “ ” Ernest is now safe for the season, so o ur little venture will be my first autumn production . After much consideration I ’ — have engaged Miss Evelyn D Alroy a for beautiful woman and a charming actress ,

P amela . She has just played the lead in “ ’ O Fl nn O he The y , with Tree, and also p lia and P ortia with great success and she i s is a find . My present idea to rehearse the play during latter part of June and beg in ning of July, then to go for a holiday and d return at end of August, and pro uce in

September . I hope that my present luck ADVENTURES OF A PLAY

continue, and that we shall have a suc

together . With kind remembrances , I c yours sin erely, G eorge Alexander .

Expectations were fused into certainty ’ ” D Ar cy still remained the arch pro crast i nator, but letters from time to time remind d ed me that he was in goo hands .

G Toll ate Cottage, Charle o o d 24. w May y , r He ts .

My dear Mr . Shipman, ’ D Al ro I am glad you liked Miss y. I think she will be excellent and she is so pretty . I shall begin rehearsals soon and get the play in good trim before my holiday and finish it o ff on my return . I have writ ten Miller asking him if he is coming over in the hope that he might be able to see on e o r o two f the rehearsals . King George is o n the throne now and the name will in spire even more enthusiasm in the future . It has been a sorry time for theatrical man

130 AD VENTURES OF A PLAY I shall always regret that I was unable to go over to see it , but imagination pre fig ured it very brightly o n that Tuesday ni 2 th 19 10 eve ng, September 7 , , when the

first performance was given at the St . ’ James s with the cast which appears o n fol i low ng page . a I well remember, ye rs ago, Clyde Fitch telling me o f his sensation on the night when

Mrs . John Wood produced at the Court “ ’ his Theatre, Pamela s Prodigy, first play u o to be done in London . Those were npr s erous fo r him in 1891 p days , it was ; but ill - luck and meagre days had been dreamed away before the curtain rose that night , and as he hung over the balcony rail , eager and s o f confident, vision luxury and reputation o f floated before him . At the end the first act he gave up his private hansom ; at the o f i end the second he d scharged his valet, and when the final curtain fell he surren dered his flat in the Albany, and returned to his simple lodgings , wondering where the passage money was coming from to take him back to New York ! r ms s ve umo T E DAY P , U S , S E T. 2 7 t h , 19 10 , a t a WILL BE ACTED WAR!“OFTHE GUARD

A omed in F ur Act s C y, o , B L O ! S H I P M A N y , U E V A N S

i s- the F rst Re nment f Fool Guards, Ca tain and olonel g Q C n the Sta o -Gen o f s euL eml Mr. GEORGE ALE! ANDR h‘ Hm D A“! l The Earl Cornwallzs ! ' Bri adier-General Commanam t he Br: ade 0 g g g f M“ W RT S TE HEN T. E A - S ir Ed ard ennison K B. Foot Guards P w J , { j ’ a tain and Colonel al m l o D r e the rst e r n o u Mr. SH R C p y p (f Fi R g me t f Foob G aras) A TON PEA SE - C a tai n and Lieut . Colonel acie r RU E p D r M . P RT LISTER C a tain and Lia m-Colonel Kel V p t er Mr. DA ID DARRELL Ga fl of Ca tain and Lia m- ol nel De C r p o onroy M . JOHN noon C rw gtfggmoy - Ca tai n and Limit Colonel ollock o M ROB N ER N p P Foot Guard: r. ERT A D SO Ca tain and b ent -C olonel Walsh HEN L p Mr. RY C EMENTS a tai n and Lieu - olonel ar u ar M N R N GREENE C p C F q h r. O MA (By arrang ement Wi th Mr Grott o: EDWARD! ' Dr. Gr or r - e Su eon o . g y ( g f the Fi rst Regiment (yFoot Guards) Mr J. H BARNES S er eant Tri GER D g pp Mr. AL AM ES a t ain Mi llhausen Mr T WE C p . . GUELIN Captai n Raab {Mn STUART DENNISON he t ladel hza Dra oons of t p g , on the a tai n Henr To nshend Mr GODFRE T AR C p y w , / E LE S W”Genera, IVashmg tan Y ' Samuel Dams (of the Soa ely of Frzenas ) Mr A RTHUR ROYSTON ’ n wnshe S ambo (Serva t at the To nds ) Mr. S S PENCER

h rs KE S Mrs To wns end M G. MMI ' a l r D u ht r i VE YN P me a To wnshend (he a g e ) M ss E L D ALROY Cynthia Deane (her N t eca) M ISS MARGERY MAUDE

Ac t l . Ga rd e n of t h e Tow n s h e nd Ho us e , Ph i lad e lp h i a . Af t e rn oo n

- Act II. S it t i n g roo m of t h e To w n s h e n d Ho use Mo rn i n g “ t wo mo nt h . h a v e e ia peed .

Act i i i . Th e S a me Th e s a m e n ig h t

Act IV. Th e S a me Mo rn i ng

ri v e w e e ks h a v e e la p ae d .

The e nt ire act ion of t he pl ay t ak es place i n Phil adelph ia d uri ng i ts occupat ion by t he Brit is

- t t roo s under General t h H n. S ir William Ho e and Lleut . Ge ne ral Th e Earl Co rnw alli p . e o w . i n t he a t um and i nt e r - r l Was hi meri c n rm ere encam e u n w of i 7 77 8 . Gene a ngt on and t he A a a y w p t ent m w y iles from Phil adelphia at Vall ey Forge .

n ot z- It w as t h e p ri v i le g e of offi c e ! o f t h e Foo t -Gu a rd . a t ( h i e p e ri o d t o h o ld a o u p e ri o r ra n k i t h e Arm h r n in f r in st n n lo n e l . o r ie n t - l n l . In h r m y t o t e i re g iment a l ra k . Ca p t a s . o a ce . b e i g co t co o e t e A ;

I NTE W Y . P THE SCENERY PA D B RA HAEL. 131 132 ADVENTURE S OF A PLAY

’ Although I had none o f Fitch s ju st ifi ca tions for uneasiness , the age of private han soms , and smart lodgings having been safe l y passed, yet there always hovers around “ ” a first production that trepidation which only the hazards o f the theatre can engen An d der . while this was somewhat tem f u pered, for it is di ficult to s mmon vividly

o f - - to the service a twelve year old play, hopes and anxieties that have long since spent their force, been realized and dis o p lled, still there was enough potency in the “ ” “ ’ ”

o f . J ideas London, the St ames s , and “ l ” A exander, to produce a pleasant agita tion . Fort unate it was that hopes had little vi tality and that anxieties had no deep con cern in the event , for the cable despatches in the next day ’s New York papers presaged no very great success ; and they were cor ro borat ed a week later by the following let ter :

134 AD VENTURE S OF A PLAY I am exceedingly sorry, as really thought there woul d be a good public for such a bright, pretty and interesting play . K indest regards ,

Yours sincerely, ’

H t l . Charles T . He msley

’ D Arcy of the Guards was given at the ’ - J . St . ames s forty eight times The unan imit y of the critics was too much even for the o f popularity Sir George Alexander . He gave the play every opportunity that it : should have had a splendid cast, a very beautiful production, and time to make its way with the public . But while it was in no o r in con sider way a fiasco , the receipts -office l o f able , yet the box , on y barometer o f the theatre, gave invariable signs falling, not rising, interest . The critical reviews , if not sympathetic, were very just, although there was an irritatin g iteration in all of ’ o r them, relative to the play s American igin ; the one prejudice that the British dra matic critic allows himself to retain and nur l ture carefu ly . Our state is much the more

136 ADVENTURE S OF A PLAY o f great taste and one whose good opinion is , to my thinking, well worth having . I am just now out o f the way o f things ’ “ ’ ” theatrical and don t know how D Arcy is “ ” I Al going, but hope that exander is able to send you excellent news . l Hurried y but sincerely yours ,

Arthur Pinero .

115a a re H rley St et,

19th 1910 . . November, W

My dear Mr . Shipman, I I ’ have a confession to make . didn t “ ’ ” Al see D Arcy of the Guards after all . ex ander had reserved a box for Lady Pinero I for the last night but one, and had ar ranged to join her and we were to sup with

Mr . and Mrs . Alexander afterwards . But, alas ! the pleasant engagement fell through . w My ife, who has been in delicate health for some time past, was at the last moment s I compelled to send an excu e, and was not, in the circumstances , inclined to go alone . I think that you have every reason to be satisfied with the result o f the production of ADVENTURE S OF A PLAY 137

your play . It had , as things go with us ,

nowadays, a good run, and any play which you may do here in the future will be looked ’ to with agreeable anticipation . Don t keep our play- goers t o o long before you let them hear from you again .

Always yours sincerely, A rthur Pinero .

r ’ An d so the adventures proper o f D Ar cy ” o o f the Guards come to an end . N t that there is anything improper to follow : he has not been lured into the moving- picture 1 o f shows , nor has he served the purposes ’ the lyric stage ; although I can t say that there have not been temptations to both

thrown in his way . But there are several

o f matters collateral interest, concerning iIn in in o n fo r plays and the theatre, p g g the o f I i tunes both , which am mpelled to touch

upon lightly in a final chapter, in hopes that lifting the veil somewhat from the lesser

1 tin a a een lure d ca tured an d S ince w ri g t he bov e be h s b , p , “ n e mo e ee A sentence d t o capit al punishment i th vi s. S p endix p . 138 ADVENTURE S OF A PLAY mysteries may satisfy a teasing curiosity that confronts one at every turn these days , and also correct a few errors that float buoy ant ly on the current of misinformation in which the theatre and its denizens struggle .

140 AD VENTURE S OF A PLAY I have known stoical actors , managers , and playwrights who pursued an even way, conscious that they had done their best, and , satisfied with that , completely oblivious of any critical commentary o n the results o f their labor . But if it were possible to have o f an early peep at the more human them, ni the mor ng after a first night, the odds would be largely in favor o f finding them in the midst o f a rumpled array of the daily I prints . have even heard that certain high strung members o f the profession wait wear ily all night at The Lambs for the earliest f editions . Leaving aside the indi ferent ones as abnormal, we have not far to seek for the eagerness and trepidation o f the others . ’ ’ in The actor s engagement, the manager s ’ o f vestment , and the profit the playwright s labor all depend o n the dicta o f the little group o f journalists who have ru shed to their several offices immediately after the o f play, and written their impressions the performance . In the circumstances , it is hardly to be wondered at that their utter anecs receive an attention o ut of all pro M D AM M t 1 MA R V m(axa o d e V { qA J O R D A LR HLE As mn / M é fi a we L N 5 ® 0 £L J i m ' ~

’ CO STU ME PLATE FO R D AR CY o r THE GU ARDS

MA ID R . I BY PER C U O . CY Q ,

142 ADVENTURE S OF A PLAY tions are commercial undertakings to be ad v ert ised o f , not criticized ; an acceptance the attitude o f the great mass of raw theatre goers that they know what they like , and are, therefore, to be encouraged in their de v ot ion to the inane , the vulgar, and the com mon lace p , and along with this, an insistence that the men who write about the theatre shall conform to the tastes and standards o f these most important constituents of our daily journals . It follows quite naturally

o f i from any such principle selection as th s , that these men, to whom the public should

a s dl look guides and philosophers , are har y

for t o chosen their openness ideas, their sus cept ibilit y to beauty or their sufficient in formation, neither for their endeavor to know the best that is kn own o r thought in consid the world, but rather for practical e rat ion s that cling to them and stifle them ; and not until the aff airs of the theatre are detached from the desire o f the a verage newspaper for gossip and advertising, and treated with the same discrimin ation that is ADVENTURES OF A PLAY 143

o f accorded music or an exhibition painting, will matters be much mended . our I f important weeklies, The Outlook, ’ ’ an d Harper s and Collier s , our great month lies should establish regular and enlight o f ened criticism the theatre , the stimulus would be felt not only in New York but o f throughout the country, and the reaction ni public opi on, thus nurtured and cultivated, on l I actor, playwright, and manager wou d, am convinced, do much to raise the drama to its rightful position, not only as the great o f popular amusement the people, but as the o f great popular educator, in the matter manners, morals, and literature .

The law which governs the financial suc o h di cess f a play as never been scovered . People o f the theatre are not apt t eleolo gists . Their reasoning runs along lines rather simple and obvious . It is much easier t o for o n put the blame a failure, the fact “ ” that the tag o f the play was spoken at o r rehearsals , to ascribe the reasons for suc cess t o the esoteric properties residing in 144 AD T A A VEN URE S OF PL Y.

’ the favorite rabbit s foot o f the leading ’ “ ” -u o n lady s make p box , than it is to fasten or the one many final causes . Good plays have been known t o fail and be withdrawn l in a fortnight, whi e bad ones , next door, : have thriven for months so, where there is so little firm ground on which specul ation may tread, the lighter reasoning serves as well as any other . “ ’ ” D A rcy was given fift y performances at the Savoy, but whether the shortness of its stay was due to a black cat crossing the stage i a early in the run I cannot say . M ller l ways maintains that the only partial suc cess o f the play in New York was attribut able to the damnable shooting o f the hero ; I have always vaguely felt that it was be au cause he was only half shot . Romantic dien ce s like romantic heroes and situations are exigent and stand no trifling . And yet the pecuniary returns o f the six weeks in

New York were in no way despicable . The receipts for the first week were somethin g over four thousand dollars : for the last week just under that ; and the biggest week,

A V O Y T H E A T R E

CHARL S F OHMAN ma na e r E R , g

BO! O FFICE S TATEMENT

Orchestra

l fBalc n I s o y ,

A dmzsszons

Box o ffice statemen t o f receipts for a performance “ ’ ” of D Arcy o f The Guards at t he Savoy AD VE NTURE S OF A PLAY 147 taste o f blood makes one ravenous for ever more . I d on o f e have touche the matter r ceipts , profits and royalties rather specifically be cause they are matters about which the o f minds many people, both in and outside o f the precincts the theatre, play with more vivacity than common sense . They translate the successes and failures o f the play- house into huge sums that have no relation what ever to the actual figures ; but the modest “ ’ ” return s of a play su ch as D Ar cy are much nearer to those o f the average play than the as tounding reports one occasionally sees or in a Sunday supplement, hears about at o the dinner tables f the ignorant . — It is told o f a contemporary n ot Oliver — Herford that on three several occasions a he addressed to his v let , his cabman and a page at a club, the experimental query, “ ” And how is the play coming on ! To which “ ’ fi n the invariable reply was , Oh , it s all ” ished . , sir, except putting in the dialogue For the e difi cat ion o f those numberless ones ” who , obsessed by the scenic idea , have all 148 AD A VENTURES OF PLAY. “ finished except putting in the dialogue , and for those other numberless ones who all of have got it in, whom are looking for I nl ward, and trust not vai y, to ultimate pro duct ions I on and royalties , have reproduced the following pages (see appendix) three I of the contracts which , at various times, “ ’ have made for the production o f D Arcy ” : of the Guards the first with Robert Taber, M the second with Henry iller, and the third with George Alexander. They cover almost every possible contingency that can arise be I tween author and producer, and think they may serve as a fairly sufficien t guide to the untried playwright and also prove of inter est to the inconsiderable minority who are not writing plays . The points o f difference in the three agreements are very suggestive and are in dicat iv e o f the special conditions that at tended the making o f each . Briefly the spe cial conditions were these : Taber absolutely controlled all rights to the piece for four years with no obligation to produce dur ing that period . There the payments spe

150 ADVENTURES OF A PLAY

s for I definit e plan production . And wish ’ to emphasize what I ve said before concern ing the unwisdom o f tying a play up for any such period as is stipulated in this contract . The most liberal of contracts is no compen sation for an unacted play . The agreement with Henry Miller was closely related to the fact that he intended almost immediate production, and therefore the first payment was small, and an advance o n royalties ; that is it was to be deducted from royalties earned before any further payments were made . In every respect this contract is perfectly equitable and in many o f its provisions extremely liberal for the

first play o f an untried author . So much for contracts : there are innumerable varia tions based on special and personal con sid erat ions i , but by the t me these come to be a matter of discussion between manager and t o author, the latter is usually able safe guard his own interests . It is often asked how an author knows whether he is receiving his proper fees . The

o system f accounting is very simple, accu ad o re-3 m m “5 0 8 0 26 8 ALE! ANDER

FINAL RETURN R ' or w e GU DS . m y o mev A

BOOKINGS (Box Oflice)

nooas (Grand Enh ance)

LIBRARIES Ale 7

ADVANCE

WEATHER

Box office statement o f receipts fo r a performance “ ’ ” ’ mes of D Arcy of t he Guards at t he St . Ja s

Theatre , London 151 152 AD VENTURE S OF A PLAY

for t e rate and the most par r liable , and is as follows : the treasurer o f the theatre at

’ which the play is being performed, and the business manager of the company acting the “ ” play, count up the house during every performance . That is they sort and tabulate the ticket stubs that the door keeper has - one dropped into his locked tin box , each checking the other ; and when their addi sum tion comes to a common , each signs the ’ other s account At the end o f each week the signed statements are sent to the author with a cheque for his royalty ; and it is an easy matter in this way to follow the busi f ness side o the production . I have repro du ced here one o f the statements of the S a “ ’ voy Theatre during the run of D Arcy. A particularly good looking o n e showing every seat in the house sold except twenty- four in the second balcony ; and o n e o f the St . J ames ’s—not so good looking ! Afte r a play has finished a successful tour on the road” it is in continual demand for

- use by the various stock companies that, for or e the last fifteen years thereabouts, hav

=154 AD VENTURE S OF A PLAY. young actors for acquiring the elementary i o f techn que their profession . But it is in their pecul iar relation to the life o f a play that I mention the stock com anies p here . There has not been a year since “ ’ ” the original production of D Arcy that it has not been played by some of these com ani es o f p in various parts the country , whereas without them its career would have ended, once it had served its purpose as the m o r special mediu f Henry Miller . In this way has gradually been formed a repertoire o f American plays that is fairly representa tive o f the movement and development of the American drama during the last twenty years . And, although most of our plays “ l date very quick y, it is interesting to have the opportunity o f seeing the plays o f Bron son Howard , Augustus Thomas , Clyde W Fitch, William Gillette, as ell as many others, rescued from the limbo to which our peculiar theatrical conditions would ordinar s ily con ign them . The method of renting or leasing these plays to diff erent companies is usually through the offices o f o ne o r the ADVENTURES OF A PLAY 155 other o f several agents that make a spe cialt o - y f stock company business . The fees range from a thousand dollars a week, for exceptional successes, all the way down to fifty dollars a week ; and a popular play serves as a source o f steady income for a dozen years after its first flight . The last matter which I wish to mention is on e o f the first which should concern the author o f a play : the legal protection o f his ’ property . I don t propose to invade the mysteries of American Copyright ; no one but Robert Underwood J ohnson pretends to have mastered them ; and as for the new efi ect J English law which went into in uly, 1912 o f , it is beyond even the omniscience s Mr . Che terton . There is, however, a formal but simple proceeding which serves at least as a warning to would-be tres passers , and which does not interfere with the inalienable rights that even authors have under the common law. Secure from the

Register of Copyrights , Library of Con W gress, ashington , an application blank for “ dramatic composition n ot reproduced !or 156 ADVENTURES OF A PLAY; ” sale . Fill out the application and return it, together with on e typewritten copy of the o ne play and the fee, dollar, to the Register o f Copyrights, and he will send a certificate o f registration . I f , however, the play is to “ ” be be published in book form, for sale, imi fore p roduction, the prel naries are some what di fferent and may be left to the pub lisher . The new English copyright act of 1912 does away with the expensive and in convenient necessity o f actually producing the play before copyright can be secured, it o f also abolishes that ancient place registry, ’ Stationers Hall . But what it supplies in o f or their place, outside the provisions for din ar be y copyright, would have to decided by an arbitration court composed o f mind readers . My opinion is that the certificate o f registration from our own copyright office would be recognized by English cour ts o as valid evidence f proprietorship . The rights o f an author to his play under the common law are the same as he woul d

o - have t his pocket book, if I may be allowed t o imagine that he might possess such a su

158 AD VENTURES OF A PLAY enthusiasm for what is at best a dubious pro fe ssion l , but simply to incu cate that ines timable virtue, patience, in those who have been unfortunate enough to adopt it . If ll it in any way serves , pleasure wi have wait ed upon duty not in vain, and American managers and “stars” may expect in the next few months an avalanche o f dog-cared manuscripts, rescued from despair and sent on n o f forth again the bright wi gs hope . Let ns us wish that they will all find spo ors, and “ ” a play to the m gical sign, S . R . O . APPENDI!

162 ADVENTURES OF A PLAY

N ow t here ore c s d o f f , in on i eration the o f one o f sum dollar, paid by the said party the second part to the said party o f the first o f part, the said party the first part and the said party o f the second part respectively agree as follows :

The said party of the first part agrees to sell, assign, and transfer and hereby does s sell, a sign, and transfer to the said party of the second part the exclusive right to pro duce the said play 1n the United States o f A merica and Great Britain and her colonies, for which sale, assignment and transfer the said party o f the second part agrees to pay to the said party of the first part or to his : o f authorized agent, as follows The sum five hundred dollars on the signing and execution of this agreement, which sum shall be a bonus paid by the said party o f the second part to the said party o f the first o f part , and shall belong to the said party the first part . AD VENTURES OF A PLAY; 163

’ Also the further sum in author s royal : n ties as follows five per cent . o all gross weekly receipts , if the said receipts do not exceed five thousand dollars - o n seven and one half per cent . all gross weekly receipts , if the said receipts ex ceed five thousand dollars but do not exceed six thousand dollars n and ten per cent . o all gross weekly receipts if the said receipts exceed six thou sand dollars fo r all performances o f the said play in the United States o f

A . merica, Great Britain and her colonies

If the said play is retained and is n ot pro duced by the said party o f the second part o n D 15 1902 or before ecember th , , the said party o f the second part shall then pay to d the sai party of the first part, or to his 164 AD VENTURES OF A PLAY

z r authori ed agent, the fu ther sum of five hundred dollars which sum shall likewise be a bonus paid by the said party of the second part to the said party of the first d part , and shall belong to the sai party of

the first part .

If the said play is not released by the said

party of the second part , and is not pro duced or D 15 by him on before ecember th, 1903 o f , the said party the second part shall

then return to the said party of the first part,

or to his authorized ag ent, all manuscripts o f the said play in the possession o f t he o f said party the second part, and all the rights o f the said party o f the second part in

and to the said play shall cease .

The said party of the second part further

agrees , that should he produce the said play,

166 AD A VENTURES OF A PL Y.

VIII

If the said party o f the second part shall at any time fail to fulfil any o f the condi tions set forth in Article II o f this agree ment the said party of the first part , or his authorized agent , may thereupon , by a reg ist ered letter sent addressed to the said party o f the second part at his address , give notice terminating this agreement , and all rights granted and assigned by the said party o f the first part to the said party of the second part shall thereupon revert to the said party o f i the first part, but without prejud ce to any right or rights to compensation or dam ages o r cause or causes of action that the said party of the first part may or mi ght have in respect to any breach or breaches of this agreement .

The agreements hereto are bindi ng upon the heirs, executors , administrators , or rep AD VENTURES OF A PLAY 167 resent ativ es of the parties hereabov e men

I N WITN ESS WH EREOF the parties berebe low named have set their hands and seals the day and year first above written . U S VAN H PMAN LO I E S I , BERT ABER RO T . CONTRACT WITH HENRY MIL LER

AGREE MEN T made this twenty-third day o f o ne March , thousand nine hundred and on e 23rd (March , between Louis o f Shipman, of Windsor, Vermont, party o f the first part , and Henry Miller, New o f York City, United States America, party o f the second part, and Whereas o f , the said party the first part o f is the author a play in four acts , entitled “ ’ ” D Arc o f y the Guards , and Whereas o f , the said party the second part desires the sole and exclusive right to pro duce o r to have produced the said play in the United States o f America and in Can ada, N ow t here ore o f , f , in consideration the sum o f one o f dollar, paid by the said party 168

ADVENTURE S OF A PLAY

’ but d author s royalties , under no con ition is the said sum to be returned to the said party o f the second part , the said sum belonging exclusively to the said party of the first part.

Al d so, after deducting the two hundre and fifty dollars $250 ) paid in advance o f ’ royalties , the further sum in author s royal

: . on ties , as follows five per cent the first four thousand dollars gross

- weekly receipts ; seven and on e half per cent . on the next two thousand dollars l gross week y receipts , and ten per on k cent . all gross wee ly receipts which exceed six thousand dollars for all performances o f the said play in the o f a United States Americ and in Canada .

If the said play is not produced by t he said party o f the second part on or before ADVENTURES OF A PLAY 171

o f the first day September, one thousand

o n e 1st nine hundred and (September ,

and, if it is retained by him , the said party o f the second part agrees to pay to o f au the said party the first part, or to his t horized o n e agent , the further sum of thou sand dollars which sum shall like ’ in o f wise be advance author s royalties , and not t o be returned in any event to the said o f party the second part .

I f the said play is not produced by the said party of the second part o n or before Sep tember first, one thousand nine hundred and l st 1902 two (September , ) the said party of the second part Shall then return to the said o f o r party the first part, to his authorized agent, all manuscripts of the said play in the possession o f the said party of the sec o n d o f part , and all rights of the said party the second part in and to the said play shall cease, and all sums paid by the said party o f the second part to the said party of the 172 ADVENTURE S OF A PLAY

o r first part, to his authorized agent , shall be forfeited by the said party o f the second o f part, and shall belong to the said party the first part .

The said party o f the second part agrees to announce the name o f the said Louis o f on Shipman, as sole author the said play, all posters , programmes , and other advertis ing matter connected with the said play .

' o f The said party the second part agrees , ul that sho d he produce the said play, to pro duce it in a proper theatre and in a fi rst class manner .

The said party o f the second part agrees to furnish to the said party of the first part , or to his authorized agent, weekly state o f o f ments the gross receipts the said play,

174 AD VENTURE S OF A PLAY riod o f fifteen days after such notice ; with out prejudice to any right or rights to com en sat ion or or o f p damages, cause or causes action that the said party of the first part may o r might have in respect to any breach or breaches of this agreement .

d d l The sai party of the secon part , shou d he produce the said play, agrees that, if dur ing any on e full theatrical season the play has not been produced seventy-fi v e (75 ) times, that all his rights in and to the said play shall cease and revert to the said party o f the first part . This agreement to be binding upon the d i or re re heirs , executors , a m nistrators, p sent at iv es o f the parties hereabov e men

t ioned . I n Wit ness Whereof the parties hereto have hereunto set their hands and seals the day and year first above written . U S VAN H PMAN LO I E S I , Y L LER HENR MI . CONTRACT WITH SIR GEORGE AL E! ANDER

MEMORANDU M OF AGREEMEN T entered - o f J 190 4 be into this twenty ninth day une, , ’

o f . J tween George Alexander, the St ames s K Theatre, ing Street, London, S . W. (here inaft er called the party of the first part) , o f and Louis Evan Shipman, Windsor, in o f o f the State Vermont , United States America (hereinafter called the party of the second part ) Whereby it is agreed That the party of the second part makes over to the party o f the first part the entire “ ’ D Arc o f acting rights in his play, y the ” K Guards , for the United ingdom and Ire land and the English colonies (Canada ex cept ed ) for a period o f seven years from the date of its production by the party o f the 175 176 ADVE NTURE S OF A PLAY

on n di first part , the followi g terms and con tions The party of the first part to pay t o the party o f the second part the sum o f £200 ‘

(two hundred pounds) down , on the sign ing of this agreement, and, in consideration o f this payment, the party of the first part is to have the right o f producing the said play not later than the third production af ” t he ter Saturday to Monday, and should party of the first part find that his arrange ments will not permit o f the said play being produced as the third production after Sat ” urda t he y to Monday, then the party of o f first part, by payment a further sum of £10 0 one ( hundred pounds ) , may have the option o f producing the said play as late as the fifth production after the above -men “ ” t io ned piece ( Saturday to Monday ) and it is understood and agreed by both parties that the above -mentioned sums (two hun dred pounds, and one hundred pounds ) are to be considered as monies paid in advance a n d o n o f account fees ; but, in the event of the said play not being produced by the

178 ADVENTURES OF A PLAY cent . ) on all sums over (one hun - s dred and sixty six pound , thirteen shillings, and four pence) . F or all performances given o f the said play by the party of the first part and his company in the Suburban or Provincial Theatres the fees payable by the party o f the first part to the party o f the second part are to be : straight on the weekly gross receipts , and all other payments received by way o f sale o r royalty for performances not ’ under the party o f the first part s direct or ro fes management, whether amateur p sional , or from any other source (always ex cept ing monies received by the party of the second part o n account o f performances given in the United States o f America and Canada) are to be equally divided between the two parties . ' s (4 . The party o f the second part agree to allow the party o f the first part to make any alterations In the said play that he may deem necessary . The party of the first part agrees to render weekly to the party o f the second ADVENTURES OF A PLAY 179 part a statement of the receipts , and also to announce the author ’s name (Louis Evan hi S pman) in all newspaper advertisements , bills and programmes o f the said play . It is mutually understood and agreed between both parties that this agree ment is subj ect to the play being licensed by o f the Lord Chamberlain, and in the event a license being refused this agreement be comes null and void, and all sums paid down in advance and on account of fees are to be returned by the party o f the second part to the party o f the first part . I n Wit n ess o f all of which the parties have hereunto set their hands . E RGE AL E! AN DER G O , U S AN H PMAN LO I EV S I . Q t u n e s ! ” mu m c om cu m no. em um ”. m un-Aw cu m

THE AMERICAN PLAY COMPANY N u ! " m n ew ne s s : n o mm m m u nau 14 5 1 BROADWAY NEW YORK ClTY

k Prod uc ions for Lis t of S toc t Wee k Ending Feb. 14 . 1914

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a ea l po ts Shubert . The n W h The Man M ou t Vernon esu est er { Broadway

FOR WASHINGTON’S BIRTHDAY WEEK , “D’ ARCY OF THE GUARDS ’ ” D Arcy o f t he Guards in Stock 180

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“( WALDm 650. J. COOKE PM o HARR I . M m Y m . . % ‘ o

v AUGUSTUS THOMAS, Dtrect or ceneral of Producti on:

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AUGUSTUS THOMAS EVERLASTlNG SUCCESS

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“ ’ “ D Arcy of t he Guards in t he Mo vies 182

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