"Plays are put up in packages and sold at the delicatessen shops"

THE
FOOTLIGHTS
FORE AND AFT

BY
CHANNING POLLOCK

WITH 50 FULL PAGE ILLUSTRATIONS BY
WARREN ROCKWELL

RICHARD G. BADGER
THE GORHAM PRESS
BOSTON

Copyright 1911 by Richard G. Badger

All Rights Reserved

The articles that make up this volume originally appeared, at various times, in Collier's Weekly, The Saturday Evening Post, The Associated Sunday Magazines, The Smart Set, Munsey's Magazine, Ainslee's Magazine, Smith's Magazine, and The Green Book Album. The author desires to thank the editors of these periodicals for permission to republish.

The Gorham Press Boston, U. S. A.

TO THE LADY WHO GOES TO THE THEATER WITH ME

CONTENTS

ILLUSTRATIONS

AN INTRODUCTION

Wherein, at union rates, the author performs the common but popular musical feat known as "blowing one's own horn."

"Good wine", according to the poet, "needs no bush." With the same logic, one may argue that a good book needs no introduction.... But then—how be sure that it is a good book?

Hallowed custom provides that every volume of essays—especially of essays on the theater—shall begin with a preface in which some celebrated critic dilates upon the cleverness of the author. However, celebrated critics are expensive, and, moreover, no one else seems to know as much about the cleverness of this author as does the author himself. In consequence of which two facts, I mean to write my own introduction.

One obstacle appears to be well-nigh insurmountable. It will be easy to inform you as to my merits and my qualifications, but I don't quite see how a man can speak patronizingly of himself. And, of course, the patronizing tone is absolutely essential to an introduction. Nobody ever wrote an introduction without it. I shall do my best, but I hope you will be lenient with me in the event of failure.

"Of the making of books there is no end."

And, even to the most enthusiastic student of the stage, it must seem that a sufficiently large number of these books deal with the theater.

At least, they deal with the drama—which is slightly different. It is in this difference that one finds some excuse for the appearance of "The Footlights—Fore and Aft." Here are a collection of papers in which the reader finds no keen analysis of plays and players; no learned review of the past of the playhouse, no superior criticism of its present, no hyperbolean prophecy for its future. The book, in fact, is unique.

One might wish, indeed, that there were more substance to these essays, which reveal the impressions of a reporter rather than the excogitations of a thinker or a philosopher. Mr. Pollock severely lets alone the drama of Greece and Rome. His field is the drama of Forty-second Street and Broadway. He has rendered unto Brander Matthews the things that are Brander Matthews', and unto William Winter the things that are William Winter's.

"The Footlights—Fore and Aft" contains nothing that might not have been set down by anyone with a sense of humor and the author's opportunities of observation. It is true that, in his case, these opportunities have been exceptional. Born in 1880, Mr. Pollock's contact with the theater began as early as 1896, when he became dramatic critic of the The Washington Post. Subsequently, he served in the same capacity with various newspapers and magazines, was reporter for a "trade journal" of "the profession", and acted, for a considerable period, as press agent and business manager. The practical side of play-making and play-producing he has learned in eight years' experience as a dramatist, during which time he has written ten dramatic pieces, among them "The Pit", "Clothes", "The Secret Orchard", "The Little Gray Lady", "In the Bishop's Carriage", and "Such a Little Queen."

Considering the narrow confines of the world he describes, its comparatively small population and its rather meager language, Mr. Pollock should not be blamed too much for a certain sameness throughout "The Footlights—Fore and Aft." There are not more than a dozen prominent managers and a score of well known playwrights in America; whoever elects to write a hundred thousand words about the theater must choose between mentioning these names repeatedly and inventing new ones. Nor is it possible to avoid the recurrence of explanations and instances. You will find something about stage lighting in "The Theater at a Glance", because it belongs there, and something more about it in "What Happens at Rehearsals", because much that follows in this account would not be clear without it. The author did not flatter himself that you would carry his first description with you through a hundred pages, and, perhaps, he didn't want you to spoil a nice book by thumbing back.

In articles written at various times for various readers, there is no reason to suppose that he devised two phrases where one would serve or searched for two examples where one would do the work. Undoubtedly, many of these reiterations were weeded out in the course of compilation, and, as undoubtedly, many of them remain. All collections of stories by the same author—especially when they treat of one subject—are marred by similarity. The remedy for this rests with the reader, who is recommended to take such books in small doses—say, one essay every night at bedtime.

Generally speaking, the matter that follows will not be found unpalatable. At least, the author gives us no reason to suspect that he is displeased with it or with himself. "The capital I's", as someone has said of another series of articles, "flash past like telegraph poles seen from a car window." Mr. Pollock scolds considerably, too, though, for the most part, in perfect good humor. Indeed, whatever their faults, it must be said that these essays display some wit, and a rather delightful lightness of touch and brightness of manner. They penetrate the recesses of the topic, giving an agreeable impression of confidence, of familiarity, and of authority.

Books and plays are judged by their price and pretence. With the price of this book neither the author nor the prefacer has anything to do. It pretends to very little, and, judged by that standard, it may be acquitted.

Channing Pollock.

The Parsonage, Shoreham, L. I.,
August 25, 1911.

THE FOOTLIGHTS FORE AND AFT

I

THE THEATER AT A GLANCE

Being a correspondence school education in the business of the playhouse that should enable the veriest tyro to become a Charles Frohman or a David Belasco.

A man who passed as the possessor of reasonable intelligence—he "traveled for" a concern that manufactured canning machinery, and his knowledge of tins was something beautiful—once said to me: "Are plays written before they're produced?"

"No," I replied, indulging myself in a little sarcasm; "they're put up in packages and sold at the delicatessen shops. Comedies cost twenty cents a box and dramas from twenty-five cents to half a dollar. It would be a great field for you, old chap, if you could induce a fellow like Augustus Thomas to pack his plays in cans."

Even my friend the "drummer" saw through that. I'm afraid my wit lacks subtlety. Still, two or three other people of my acquaintance would have been a bit uncertain whether to take me seriously or not. Most laymen, though they wouldn't believe in the package explanation, cherish a vague idea that theatrical presentations are miracles brought into being by the tap of the orchestra conductor's wand. Managers are quite willing to foster this opinion, agreeing with the late Fanny Davenport, who felt that the charm of the playhouse lay in its mystery, and that to elucidate would result in loss of patronage. In this verdict it is impossible for me to concur. I learn something new about the theater every day, and the more I learn the more I love it. You can't interest me in a thing of which I am ignorant—at least, not unless you start to clear up my ignorance.

Henry Arthur Jones, writing about "The Renascence of the English Drama," observes: "I wish every playgoer could know all the tricks and illusions of the stage from beginning to end. I wish that he could be as learned in all the devices and scenic effects of the stage as the master carpenter.... Compare the noisy, ill-judged, misplaced applause of provincial audiences with the eager, unerring enthusiasm and appreciation of the audience at a professional matinee, where, so far as the acting goes, everyone knows the precise means by which an effect is produced, and, therefore, knows the precise reward it should receive." That's warrant enough for me.

The theater is an extremely curious blending of art and business. Its art is lodged back of the curtain line and its business in front of the footlights. Between these two boundaries the manager stands when he is directing rehearsals, and, since his work is a mixture of both things, that four feet of cement constitutes a sort of intellectual no-man's-land. The people of the stage and the people in "the front of the house" have little in common, that little being chiefly a mutual feeling of contempt for each other.

You know the recipe for cooking a rabbit—"first catch your rabbit." The same recommendation applies in the matter of producing a play. Good plays are the one thing in the world, except money, the demand for which exceeds the supply. Consequently, dramatic works cost a trifle more than "twenty cents a box." Most managers think they cost altogether too much, but there never has been advanced a completely satisfactory reason why an illiterate little comedian should be paid more for appearing in a piece that makes him a success than the author should be paid for providing a piece that all the illiterate little comedians on earth couldn't make a success if the vehicle itself weren't attractive.... Kyrle Bellew in "The Thief" drew $10,000 a week; Kyrle Bellew in "The Scandal" didn't draw $4,000; that's the answer.

If you were a manager and wanted a play by a well-known author you would go to his agent—Elisabeth Marbury or Alice Kauser—and ask if he had time to write it. Should his reply be in the affirmative, you probably would pay him $250 for attaching his name to a contract stipulating that the manuscript must be delivered on such and such a date. Before that time, he would send you a scenario, or brief synopsis, of his story. If you accepted that, you would give the author another $250; if you rejected it, all would be over between you. The acceptance of the completed "'script" would be likely to cost you an additional $500, and the whole $1,000 would be placed to your credit and deducted from the first royalties accruing to the dramatist.

"First catch your play"

Authors' royalties usually are on "a sliding scale." Such a one as we have in mind might get 5 per cent. of the first $4,000 that came into the box office; 7 per cent. of the next $3,000, and 10 per cent. of all in excess of that total. Thus, the playwright's income from a production that "did $8,000" a week would be $510. The agent would take 10 per cent. of this sum. Some dramatists receive better terms than these and some get worse; I have given the average. It is possible for an author to profit by such a property as "The Lion and the Mouse," which has been acted pretty constantly by two or more companies, to the extent of a quarter of a million dollars. Occasionally, a shrewd manager and an author without experience or self-confidence make a deal by which a play is sold outright. This is an unpleasant subject.

"How does the dramatist know the receipts of his play?" you ask. From a copy of the statement by which the manager knows. Did you ever hear of the operation called "counting up?" About an hour after the performance begins, the affable young man who takes your money through the box office window counts the tickets he has left, and subtracts the number of each kind from that which he had originally. The result is the number sold. That number is written on a report handed to the manager of the company appearing in the theater by which the young man is employed. He and the young man then count the sold tickets taken from the boxes into which you see them slipped when you give them to the official at the door. That result should be precisely the figure on the report. If it is greater the young man pays for the difference; if it is less nothing is said, since some people who bought tickets may have remained away. The statement of what has been disposed of, at what price, and with what total, is then signed jointly by the representative of the house and the representative of the company. Each keeps a copy of this statement and an additional copy is sent to the agent of the author. The transaction seems simple, but, if you will think the matter over, you will see that it is a nearly perfect method of preventing dishonesty.

The contract made between manager and author ordinarily provides that a play must be performed before a given date and so many times a year thereafter, in default of which all rights revert to the dramatist. One of the first requisites of a production now-a-days is scenery. Consequently, supposing still that you are the manager, you turn over your manuscript, act by act, to a scene painter, or to a number of scene painters, expressing your ideas on the subject, if you have any. The scene painter reads the play, formulates some ideas of his own, familiarizes himself with the time and place treated, and makes a model of each setting. The model is a miniature, usually on the scale of an inch to a foot, and it incorporates the necessaries described by the author with the luxuries imagined by the manager. Moreover, it is as accurate and beautiful as skill can make it. If the producer approves of the model a bargain is struck, a builder constructs the frame work which is to hold the scenery, the painter covers the canvas, and, for a while, at least, the matter of settings is off your mind. The setting of an act may cost $500 and it may cost $5,000. Generally, it comes to about $1,000.

In a play of modern life the actors are supposed to furnish their own costumes. Sometimes, when the dresses are to be exceptionally elaborate, this rule is varied. Should your property be a romantic drama or a comic opera, however, you have a conference with a costumer. The great producers, like the Shuberts and Klaw and Erlanger, maintain their own establishments, but this hardly will apply in your case. Now you will see costume plates instead of scene models—little paintings on card-board that frequently are exhibited in front of the theater in which the piece is running. These once passed upon, the contract for making the clothes will be let. Naturally, the cost is governed by the number of persons to be clad and by the nature of their garb. The gowns worn by one woman in the production of a Clyde Fitch society comedy came to $3,100. The costumes for a comic opera may foot up $20,000, irrespective of tights, stockings, slippers and gloves, which principals and chorus girls are obliged to find.

Engaging a company is a simple matter in comparison to what it used to be. A few years ago you would have been compelled to choose from thousands of applicants and to make personal visits to an actors' agency—say, Mrs. Packard's or Mrs. Fernandez'. Now metropolitan casts are composed chiefly of well known people. You have seen these people often, you know what they can do, you select them with an eye to round pegs and square holes, and you write to them or their representatives. In a week your cast is ready. Salaries range from $400 a week, paid to a popular leading man or woman, to $20 a week, the stipend of a player of bits. Chorus girls usually get $18, though especially handsome "show girls" are worth as much as $60. Your star probably insists on having from $300 to $500, and a percentage of the profits.

A stage manager is the man who does the thinking for actors. He directs rehearsals, devises "business" and effects, and often has a great deal more to do with the play than the author himself. Any author will tell you that this was true in the case of a failure; any stage manager will tell you it was true in the case of a success. In all seriousness, a stage manager is a mighty important individual. If actors roamed about at will in a play, as most laymen suppose they do, you couldn't tell a first night performance from a foot-ball game. Every actor in a piece knows just where he must stand when a certain line is spoken, and when, how, where and in what manner he must move to get in position for the next line. Smooth premieres are not accidents; they are designs. Sometimes, as in the case of David Belasco, producers are their own stage managers. Frequently, as with Charles Klein, authors stage their own plays. Almost always they have something to do with it.

"If actors roamed about at will you couldn't tell a first night performance from a football game"

The chorus of a musical comedy or a comic opera rehearses apart from the principals, and begins earlier. Putting on a piece like this is more difficult than putting on a legitimate comedy or a drama, and such a director as Julian Mitchell or R. H. Burnside may be paid $15,000 a year. The production of a "straight play" often is piece work, bringing about $500 for each piece. Costumes, scenery and properties are unknown until the last rehearsal. Two chairs represent a door or a sofa or a balcony in the minds of everyone concerned. "What is the woman doing on the bench?" I inquired once at a stock company rehearsal of "Mr. Barnes of New York."

"That isn't a bench," the manager replied. "That's a train of cars just leaving the railroad station at Milan."

While these things are going on in borrowed theaters or rented halls, two departments in your enterprise are preparing other details of the business. First, there is your booking agent. His task, like the matter of engaging a company, has been simplified. Formerly, he wrote to the manager of the theater you wanted in every city you wanted to play, and kept on writing until he had contracted for a route that would not involve your jaunting from Philadelphia to Chicago and then back to Baltimore on your way to St. Louis. Railway fares, even at two cents each per mile and one baggage car with every twenty-five tickets, eat up profits. Now-a-days your booking agent goes to the booking agent of one of the two big syndicates, each of which represents half of the theatres in the country, and that gentleman arranges a route while you wait. Sometimes it may not be a route worth waiting for, but that is determined by your importance and the estimated drawing power of your attraction. Theaters are "played on shares", the shares depending again upon the drawing power of your attraction and upon the size of the city booked. In Chicago you will get 50 per cent. of the receipts; in Newark 60 per cent; in Springfield or New Haven 70 per cent. A New York house keeps 50 per cent. and, unless your production seems promising, you will be obliged to guarantee that the theater's share will not fall below a certain figure.

Next, there is your press agent. He used to be a newspaper man, and he is worth $100 a week or not more than a dollar and a quarter. In his office is a stenographer, a mimeographing machine, and a list of six hundred daily newspapers. If he is worth $100 he knows just what each of those newspapers will print and what it will not. It is his business to cover a pound of advertising so completely with an ounce of news that the whole parcel will not be consigned to the waste-basket. Out in Milwaukee and over in Boston you have observed journalistic items like these:

Augustus Thomas is at work on a new play for Charles Frohman. The piece is to be called "The Jew," and will be produced in September.

That's the press agent!

He also designs bills, gets up circulars, sends out photographs, invents "fake stories", and takes the blame for whatever happens that shouldn't have happened. If you have several attractions you will need a press agent in New York and one with each company on the road. In the parlance of the profession, the road press agent is "the man ahead of the show," while the acting manager is "the man back with the show." The terms are self-explanatory. "The man back with the show" keeps the books, "counts up," pays salaries, "jollies" the star, and maintains communication with his principal. During the course of your connection with the theatrical business you will have dealings also with the advertising agent, who supervises the posting of bills; the transfer companies, which haul your production to and from playhouses and railway stations; and scores of other people. You must learn about them from experience.

The stage is a land of wonders the geography of which must be pretty thoroughly understood before you can receive any idea as to the working of the miracles that occur in the ten minutes the curtain is down between acts. Of course, you know that the opening through which you witness the performance of a play is called the proscenium arch. The space between the base of this arch and the footlights is known as the "apron." That region into which you have seen canvas disappear when it is hauled up from the stage is the "flies." Directly under the roof is a floor or iron grating from which are suspended the pulleys that bear the weight of this "hanging stuff," and that floor, for obvious reasons, is called the "gridiron." The little balcony fastened to the wall at one side of the stage or another is the "fly gallery." The loose ends of the ropes attached to the "hanging stuff" are fastened here, and it is from this elevation that the "stuff" aforesaid is lifted and lowered. Scenery is of two kinds—"drops" and "flats." Of the latter more anon. "Drops" are curtains of any sort on which are painted the reproductions of exteriors or interiors, and one of the ordinary size weighs about two hundred pounds. In common with everything else suspended in the "flies," these "drops" are counterweighted, so that a couple of men can move them with ease. The other things suspended may be "flies," or "borders," which are painted strips that prevent your seeing any farther up than you are expected to see; "ceiling pieces," platforms, and "border lights," which are tin tubes as long as the stage is wide, open at the bottom, and filled with incandescent globes of various colors for illuminating from above.

"Flats" are pieces of painted canvas tacked on a framework of wood. In the old days these were held in position by "grooves," or combinations of little inverted troughs that fitted over the tops of the "flats." These "grooves" were in sets four or five feet apart running along both sides of the stage, and their position gave to various parts of that platform designations that are used still in giving directions in play manuscripts. Thus, "L.2.E.," or "Left second entrance," is the space between the first and second of these sets on the left of the stage. The long "flats," slid in to join in the center and make the rear wall of a dwelling, for example, constituted "the flat" and the short ones on your right or left were "wings." Then a room could be no other shape than square or oblong, and the doors and windows had to be in certain specified places, no matter where they would have been in a real house. It is laughable now to consider how this purely physical condition limited the dramatist.

At the present time the building of a house with "flats" is not unlike building one with cards. Each "flat" is placed where it is desired and held up from behind by a "brace," one end of which is screwed to the setting and the other to the floor. That particular "flat" is then lashed to its neighbors with a "tab line," much as you lace your shoes. When the walls have been constructed in this way, with doors and windows wherever they are wanted, a ceiling is lowered from the "fly gallery," and the dwelling is complete. If you are supposed to see a landscape through the window, a "drop" on which a landscape has been painted is lowered t'other side of the rear wall. An "interior backing," representing the wall of another room, usually is in the form of a large screen standing behind the door where it is needed. Corners of this kind are illuminated by "strip lights," or electric lamps placed on a strip of wood and hung in place.

Stage lighting has undergone a complete revolution in the past few years, the step from incandescent lamps to calciums meaning even more than the step from gas to electric lamps. Formerly, the illumination came from the footlights and the "borders" exclusively; the sun rose and set directly over-head in open defiance of the Copernican theory. Now the stage is full of minature trap doors, and to the metal beneath these may be attached wires that will throw light from anywhere. There is a "bridge" in the "first entrance" on the "prompt side" on which sits a man with apparatus to reproduce almost any effect known to Nature. You have seen the busy and important individual who controls "lamps" in the dress circle or the gallery, and without doubt you have observed that nowadays there is very little to keep such a stage manager as David Belasco from doing whatever he pleases with his electricity.

There are five classes of men at work on the stage, all under the direct supervision of the master carpenter. The men in these classes are known as "flymen," "grips," "clearers," "property men" and electricians. Each of these has his own labor to accomplish, and goes at it without loss of time or regard to the others. The "flymen" haul up and lower whatever hangs in the "flies." The "grips" attend to any scenery that must be set up or pulled down. The "clearers" take away the furniture and accessories that have been used, and the "property men" substitute other furniture and accessories from the "property room." The work of the electricians has been explained. In these days of elaborate calcium effects, there must be a man at each "lamp."

All these matters are attended to as though by machinery. When the curtain has fallen on the star's last bow, the stage manager cries "Strike!" This cry means labor trouble of a very different sort from that usually created by a call to strike. The stage immediately becomes a small pandemonium. The crew in the "fly gallery" works like the crew on a yard arm during a yacht race, hauling wildly at a greater number of ropes than were ever on a ship. In consequence of their energy, trees and houses soar into the air as though by magic. Samson wasn't such a giant, after all. He only pulled down a building—these fellows pull buildings up!

They are not mightier, however, than their colleagues, the "grips." There walks a stalwart individual carrying a folded balcony or pushing along the whole side of a church. Another permits a porch to collapse and fall into his out-stretched arms. How useful these "grips" would have been in San Francisco! Meanwhile, the "clearers" and "property men" have been mixing things up in great shape. The last act was an interior; the next is to be an exterior. Consequently, you note a fine spot of lawn growing directly under a horsehair sofa and the trunk of a huge oak reclining affectionately against a chest of drawers. Gradually, the signs of indoor life disappear, and then, suddenly, springing out of absolute chaos, you see a forest or a broad public square. The "lamps" sputter a moment and blaze up, bathing the scene in the warm red of sunset or the pale blue of moonlight. "Second act!" screams the call-boy, running from dressing room door to dressing room door. The stage manager presses a button connected with a signal light in front of the orchestra conductor, and you hear the purr of the incidental music. He presses another button once—twice. "Buzz!" hisses something in the "fly-gallery," and "buzz!" again. The curtain lifts and the play is continued. Everything has been done in perfect order. Even now the stage manager stands in the "first entrance," pencil in hand, noting the exact moment at which the act began, the minute at which each song was sung, and how many encores it received. You—my friend, the manager—will get that report to-morrow morning.

Here, omitting a dictionary of details, you have the theater at a glance. I feel tempted, like the magician after he has garbled some explanation of a difficult trick, to say: "Now, ladies and gentlemen, you can go home and do it yourselves." But you can't. I couldn't. The thousands of important trifles, the thousands of quick decisions that must be made and of clever things that must be done—these are the results of genius and work and of long, long experience. Many an American who has "French at a Glance" on the tips of his fingers, so to speak, has to cackle in imitation of a hen when he wants to get a soft-boiled egg in Paris.

"A stalwart individual pushing along the side of a church"

[SOME PEOPLE I'VE LIED ABOUT]

Being reminiscences of the author's nefarious, but more or less innocuous career as a press agent.

A press agent, as you may have gathered from the preceding article, is a person employed to obtain free newspaper advertising for any given thing, and the thing usually is a theatrical production. This advertising he is supposed to get as the Quaker was advised to get money—honestly, if possible. Since it isn't often possible, the press agent may be described in two words as a professional liar.

There is neither malice nor "muck rake" in this assertion. The press agent knows that his business is the dissemination of falsehood, and he is proud of it. Go up to any member of the craft you find on Broadway and say to him: "You are a liar!"; you will see a smile of satisfaction spread itself over his happy face, and his horny hand will grasp yours in earnest gratitude. Victor Hugo and Charles Dickens and William Makepeace Thackeray were liars, too, according to his way of thinking, and not overly ingenious or entertaining liars, at that. Their fiction was spread upon the pages of books, as his is spread upon the pages of the daily journals, and their mission, like his, was the enlivening of a terribly dull little planet. This altruistic motive really lurks behind the prevarications of the press agent with imagination. He conceives his philanthropic duty to be the making of news to fill a demand largely in excess of the supply. If the pursuit of this purpose brings him an income hovering about that of a United States Senator he cannot be blamed.

I became one of the guild of Annanias some ten or eleven years ago, coming fresh from the position of dramatic critic on The Washington Times, and I think I may say without undue egotism that, during the period of my membership, I lied industriously, conscientiously, and with a fair degree of success. There have been and are more able falsifiers than I, but the confessions of one man cannot in honor include the deeds of another, and so I must omit them from this chronicle. Suffice it to say that the stories of Anna Held's bathing in milk, of Mrs. Patrick Campbell having tan bark spread in the street in front of the Theater Republic to deaden the rumbling that annoyed her during performances, and a score similar in nature remain conspicuous examples of the cleverness manifested by brilliant press agents in attracting attention to the actors and actresses in whose behalf they labored.

The successful launching of a "fake"—so they are known to the profession—like these is not at all the simple matter it would appear to be. The mere conception of the story is only the beginning of the task. It is not enough to decide that such and such a thing might happen, or to swear that it has happened; it must be made to happen. Moreover, the occurrence must be so natural, and the plans leading to it so carefully laid and concealed, as to prevent suspicion and baffle investigation. Whenever it is possible, the press agent should be ostensibly unconnected with the affair, and, whenever it is not, he must hide his knowledge behind a mask of innocence in comparison with which the face of Mary's little lamb looks like a selection from the rogues' gallery.

"The guild of Annanias"

There are other requisites to the spinning of a yarn which shall be valuable in an advertising way. In the first place, it is necessary that the story shall not injure the reputation or lower the standing of its hero or heroine, and equally desirable that it shall have no "come back" that may make enemies for the press agent. The announcement that Mrs. Patrick Campbell had won a large sum from society women at bridge whist, made during an engagement of the star in New York, was given all kinds of space in the newspapers, but it brought down upon Mrs. Campbell's devoted head such scathing denunciation from press and pulpit that she lost no time in sending out a denial. The publicity given the matrimonial enterprises of De Wolf Hopper, through no fault of his advertising staff, seriously injured that capable comedian for a time. A good "fake" is bizarre and picturesque enough to be interesting, will defy the prober after truth, hurts no one and so creates no journalistic grudges to be fought down in the future. There must be no limit to the number of times that the press agent can stir up excitement when he calls "Wolf!"

So many of the stories invented by theatrical Munchausens possess the qualification first mentioned that it is by no means unusual for the inventor to take the newspaper man into his confidence. Of course, before doing this he wants to feel sure of his newspaper and of his man. Dailies there be that prefer fact to fiction, however prosaic the former; that treat the stage in so dignified a manner that, if the Empire Theater burned to the ground, they probably would print the information under a head reading "The Drama"; that scorn the press agent and have only contempt for his handiwork. The most rabid of these, strangely enough, is the very paper that once, for its own amusement, tried a "fake" about wild animals escaping from Central Park Zoo which succeeded so well that for twenty-four hours business was practically suspended in New York. At least half the journals in town do not inquire too closely into a tale that is likely to appeal to their readers, especially if the tale in question is obviously harmless. When the publicity promoter conceals his machinations and buries clues leading to his connection with a story—"and the same with intent to deceive"—he must plot with great care, for woe betide him if the truth leaks out.

"Anna Held's bathing in milk"

An excellent example of the kind of "fake" in accomplishing which one may rely upon the co-operation of the Fourth Estate is the incident of Margaret Mayo writing a play in twenty-four hours. Miss Mayo, who since then has written many plays, notably "Baby Mine" and "Polly of the Circus," at that time was appearing with Grace George in "Pretty Peggy" at the Herald Square Theater. The season had been dull, if profitable, and I was casting about for any item likely to get into print, when the idea of having someone go Paul Armstrong two better in rapidity of accomplishment occurred to me. Obviously, it was impossible to involve Miss George in the episode without making her appear ridiculous, and so I cast about for a likely member of her company.

Miss Mayo's name suggested itself to me because of the fact that, even then, she was at work on several plays, and I obtained her consent to my plan. Shortly afterward it was announced from the Herald Square that Miss Mayo had wagered a supper with Theodore Burt Sayre, author of numerous well known dramas, that she could begin and complete a four act comedy in the space of a single day. The test was to be made on the following Sunday at the residence of Miss Mayo, who was to have the benefit of a stenographer, and, to guard against her using an idea previously worked out, the advantage of a synopsis furnished by Mr. Sayre. This synopsis was to be delivered in a sealed envelope at six o'clock one morning and the play was to be finished at six o'clock the next. Mr. Sayre, an intimate personal friend, had been furnished with these details over the telephone, and affirmed them when called up by the reporters. Our announcement was printed by nearly every newspaper in town.

The stenographer provided Miss Mayo on that eventful morning was my own—a bright, quick-witted Irish girl, whose name, unfortunately, I have forgotten. The synopsis of the play was Miss Mayo's. She had it made from an old piece of her own, which had been freshly typed a day or two before. Saturday night, sheets from this manuscript were generously distributed about the room, the remaining sheets were hidden in a bureau drawer, the typewriter was put in position, and our scenery was ready. Business took me to Philadelphia on a late train, and the beginning of our two little comedies—that to be written and that to be acted—was entrusted to Miss Mayo.

I got back from the Quaker City shortly after noon on Sunday and went direct to the scene of action. I rang the front bell, the door opened automatically, and I climbed the stairs to the apartment. From the hall I heard a nervous voice and the click of a typewriter. Somebody admitted me and mine eyes beheld as excellent a counterfeit of fevered energy as it has ever been their luck to fall upon. Miss Mayo was pacing the floor wildly, dictating at least sixty words a minute, while the stenographer bent quiveringly over her machine. That portion of a manuscript which Arthur Wing Pinero might possibly prepare in six months lay on the table. The typist broke the charm. "Why!" she exclaimed; "it's Mr. Pollock!"

"Oh!" said Miss Mayo. "I thought you were a newspaper man. Sit down and have a biscuit."

This pretence was continued all day. When reporters came we struggled with the difficulties of rapid-fire composition; when they didn't we ate biscuits and manifolded epigrams which afterwards were sent to waiting city editors and quoted as being from the twenty-four hour play. Miss Mayo was photographed several times and we had a delicious dinner at six. Afterward, we named our product "The Mart" and separated for the night. Despite our thin histrionism, there wasn't a newspaper man among our visitors who didn't know in his secret soul that the whole thing had been cooked up for advertising purposes, yet, a newsless Sunday aiding and abetting us, we had more space the next morning than might have been devoted to the outbreak of a revolution in France.

Similarly, no intelligent person could have questioned for a moment the purpose of the matinee which De Wolf Hopper gave "for women only" soon afterward at the Casino Theater. "Happyland," the opera in which Mr. Hopper was appearing, made no especial appeal to the gentler sex, while the presenting company included so many pretty girls that a performance "for men only" would have been infinitely more reasonable. As a matter of fact, I first conceived the idea in this form, but swerved from my course upon taking into account two important considerations. The announcement of an entertainment "for men only" must have created the impression that there was something objectionable about the presentation—an impression we were extremely anxious to avoid—and it would not have given the opportunities for humorous writing which we hoped would serve as bait to the reporters. Foreseeing that upon the obviousness of these opportunities would depend the amount of attention paid to so palpable an advertising scheme, we took care to guard against a dearth of incident by providing our own happenings. Among the number of these were the entrance of a youth who had disguised himself as a girl in order to gain admittance, the appearance of a husband who insisted that his wife must not remain at a performance from which he was barred, and one or two similar episodes. We found, in the end, that these devices were superfluous. On the afternoon selected, the interior of the Casino fairly grinned with femininity, the audience looked like a Mormon mass meeting multiplied by two, and even so dignified and important a news-gathering service as the Associated Press condescended to take facetious notice of the "Women's Matinee."

If you recollect what you read in newspapers, it is not at all impossible that, even at this date, you will find something familiar about the name of Marion Alexander. You don't? Perhaps your memory can be assisted. Miss Alexander was the chorus girl supporting Lillian Russell in "Lady Teazle" who sued the late Sam S. Shubert for $10,000 because he had said she was not beautiful. The story of this slander and of the resentment it provoked went all around the world, though it is unlikely that anyone who printed it was deceived as to the genuineness of the lady's fine frenzy. The Marion Alexander tale had all the journalistic attractions of the "Women's Matinee," in that it was unique and admitted of breeziness in narration, but it had in addition an advantage that no press agent overlooks—it was susceptible to illustration. Newspapers always are eager to print pictures of pretty women. The average New York journal had rather reproduce a stunning photograph of Trixie Twinkletoes than the most dignified portrait of Ellen Terry or Ada Rehan. Miss Alexander was pretty—I haven't the least doubt that she still is—and, while this story was running its course, the Shuberts paid nearly $300 for photographs used by daily papers, weekly papers, periodicals, magazines and news syndicates.

In the course of the controversy Miss Russell took occasion to side with Mr. Shubert—she didn't know she had done so until she read her paper the next morning—and ventured the opinion that no brunette could possibly be beautiful. As had been expected, this statement aroused a storm of protest. There are a million brunettes in New York, and to say that we succeeded in interesting them is putting it mildly. When "Lady Teazle" departed for the road they were still writing indignant letters to The American and Journal, and nearly every letter gave added prominence to Miss Russell. I wrote a few indignant letters myself and had them copied in long hand by the telephone girls and stenographers in the building. It is quite needless to say that Miss Alexander's suit never came to trial.

Twice during my career of prevarication, managing editors became interested in my humble efforts at the creation of news and demanded proofs that were not easily manufactured. While "Fantana" was running at the Lyric Theater, I discovered a chorus girl whose dog wore an exquisite pair of diamond ear-rings. To be quite accurate, neither the chorus girl nor the dog had thought of any such adornment when we three became acquainted, but a ten cent pair of jewels stuck to the animal's head with chewing gum and the popular belief that "the camera does not lie" were expected to make the discovery seem convincing. An iconoclast on The World made it necessary for us to borrow ear rings from Tiffany's and bore holes in the flesh of a poor little canine that might never have known what suffering was but for the shocking skepticism mentioned.

If the beast in this case was martyred in the interest of science—the science of advertising—the staff of the press department at the Lyric had its share of agony a little later on. We had sent out ingenuously a trifling story about what we were pleased to call a "chorus girls' rogues gallery", detailing the manner in which the records of the young women were kept on the backs of photographs filed away in a room arranged for that purpose. The World wanted the tale verified and inquired blandly if it might send up a reporter to inspect. We replied with equal politeness that it might—the next day. That afternoon we bought a rubber stamp and nearly a thousand old pictures, and all night long six of us worked on a "chorus girls' rogues' gallery" that would live up to its reputation. Our reward was a page in colors.

Sometimes things really do happen to actors and actresses, and so, not infrequently, there is a grain of truth in the news printed about them. Only a grain, mind you, for if a tenth of the events in which they are supposed to take part were actual, the inevitable end of life on the stage would be death of nervous prostration. The wide-awake press agent is quick to plant the grain of truth aforesaid, growing therefrom stories no more like the originals than a radish is like a radish seed. Grace George once telegraphed me to Chicago that she would not open at the Grand Opera House in "Pretty Peggy" on a Sunday. She felt, quite rightly, that eight performances a week was the limit of her endurance. Staring at a pile of printed bills announcing an engagement beginning on the Sabbath, I concluded that this ultimatum had reached the limit of mine. Then an inspiration. Up went the original bills, to be covered a day later with others advertising the first performance for Monday. The newspapers were curious as to why the change had been made and we were willing, not to say eager, to satisfy their curiosity. Miss George did not believe in giving theatrical performances on Sunday. At least a dozen clerygmen read this and told their congregations about it the day before the postponed advent of "Pretty Peggy."

"Sometimes things really do happen to actors"

Caught in a blizzard at Oswego, N. Y., eight years ago, I was informed that the only chance of my joining Miss George that night at Syracuse lay in making the trip in a special locomotive. That necessity got printed throughout the country, a vivid description of Miss George driving an engine through banks of snow in order to reach Syracuse for her performance of "Under Southern Skies." The woman who actually made the trip was a waitress from an Oswego hotel and she received $10 for it.

William A. Brady wanted a thousand girls in September, 1902, for his Woman's Exhibition at Madison Square Garden. They could have been obtained without the knowledge of the police, but secrecy was not the desideratum. "Wanted—1000 Women at Madison Square Garden at 8 P. M. on Friday" was an advertisement which brought down upon us nearly thrice that number, together with a small army of newspaper reporters and photographers. This was the first gun fired in a campaign of advertising for a show during the existence of which we obtained nearly six hundred columns of space in New York.

Truth is never important in a press agent's story, and there are some occurrences that he actually suppresses. Accounts of small fires, accidents, thefts and quarrels do not get into type if he can help it. Several kinds of news items have been "faked" so often that no one would attempt to have them mentioned journalistically should examples of their class really happen. He would be a brave publicity promoter, for instance, who sent to an editor the tale of his star stopping a runaway, no matter how firmly the tale might be based on fact. Miss George had stolen from her a valuable diamond necklace while she was playing in "Pretty Peggy" and knew better than to permit my sending out an announcement of the theft. "An Actress Loses Her Diamonds!" You laugh scornfully at the very idea. The papers no longer publish accounts of people standing in line before box offices all night in order to secure good seats in the morning, though I succeeded in obtaining mention of this feature of Sarah Bernhardt's last engagement but one in New York by injecting into the yarn a few drops of what theatrical managers call "heart interest." Five dollars and a little careful coaching secured for me a picturesque looking old woman who convinced her inquisitors that she once had acted with the Divine Sarah in Paris. Her vigil in the lobby of the Lyric received more attention than did the bona fide line of three thousand persons that I rose at five to have photographed on the morning following.

This imposter's husband afterward figured at the Casino in the role of a man whose visit to "Happyland" was the first he had made to a theater since the night on which he had witnessed the shooting of Abraham Lincoln. The tale we told was that this spectacle had so affected him that the soothing influence of forty years was required to bring him again into the precincts of a playhouse. Interviewed by the representatives of several journals, he made a comparison between theatrical performances of ante bellum times and those of today that could hardly have been more convincing had my confederate's price not included two seats for the preceding evening at another place of amusement under direction of the Shuberts. This story, which went the rounds of the country, cost, all in all, ten minutes work and three silver dollars. I mention it as an instance of the simple "fake" that sometimes proves most effective.

An equally simple story, used almost simultaneously, came near being less inexpensive. Henry Miller was about to produce "Grierson's Way" at the Princess Theater, and, rehearsals not progressing to his satisfaction, he determined to postpone the scheduled date of opening. This determination we resolved upon turning to our own account. We advertised widely that Mr. Miller had lost the only existing manuscript of the play, without which the performance could not be given, and that he would pay $500 reward for its restoration. Two days afterward Mr. Miller called me up on the telephone. "An awful thing has happened!" he said. "I've actually lost a manuscript of 'Grierson's Way.'"

"What of it?" I inquired.

"What of it!" echoed Mr. Miller. "Supposing somebody brings the 'script to me and demands that $500?"

Fortunately, "Grierson's Way" was found by a stage hand who was satisfied with a small bill and an explanation.

It seems hardly probable that anyone will recall how a barber once delayed the beginning of a performance of "Taps" until half past eight o'clock, yet that tale was one of the most successful of simple stories. The only preparation required was posting the chosen tonsorialist and holding the curtain at the Lyric. Herbert Kelcey, according to the explanation given out, had been shaved when he discovered that he did not have the usual fee about him. "I'll pay you tomorrow," he had remarked. "I'm Herbert Kelcey."

"Herbert Kelcey nuttin'!" his creditor had replied. "Dat gag don't go! You stay here until you get dat fifteen cents!"

A messenger, hastily summoned, was said to have released the actor shortly after the hour for "ringing up." The idea that a barber could keep a thousand people waiting for their entertainment was both novel and humorous, and, in the vernacular, our story "landed hard." The strike of the Helen May Butler Military Band at the Woman's Exhibition was arranged with equal ease and proved equally good. That exhibition was wonderfully fruitful. Almost anything the women did seemed amusing, and the show itself was so extraordinary that its smallest features were interesting.

As elaborate a tale as, for example, the famous Anna Held milk bath story, to which I have referred, requires more plotting and arranging than would the founding of a revolutionary society in Russia. One may spend weeks of work and hundreds of dollars on such a "fake," only to trace its subsequent failure to some trifling flaw in the chain of circumstance. Widely though a successful story of this sort may be chronicled, the reward is absolutely incommensurate with the labor involved, and I think few press agents would ever attempt one were it not for a gambler's love of excitement.

It was during Judge Alton B. Parker's presidential campaign that I evolved what I consider my most magnificent "fake." At that time I represented several attractions in New York, chief among the number two musical comedies, entitled "The Royal Chef" and "Piff, Paff, Pouf." I wired Judge Parker's secretary that the choruses of these productions had formed a club, which was to be known as The Theatrical Women's Parker Association, and the purpose of which was to induce male performers to go home to vote. Would Judge Parker receive a delegation from this society? The wire was signed "Nena Blake," and, in due time, Miss Blake received a courteous and conclusive reply. Judge Parker would not.

That message was a stunner. In the face of it, there was only one thing to do—send along our delegation on the pretence that no answer to our communication had ever been received. Nine chorus ladies were picked out in a hurry, placed in charge of a shrewd newspaper woman who passed as another show girl, and the whole outfit was dispatched to Aesopus. The newspaper woman had instructions to register at a prominent hotel as a delegation from the Theatrical Women's Parker Association, and to parade herself and her charges before all the alert correspondents in the little town on the Hudson. That done, we who had stayed behind got ready photographs of the pilgrims and waited.

The wait was not long. By nine o'clock that night the bait had been swallowed at Aesopus, and my office was crowded with reporters anxious to verify the story wired from up the river. Judge Parker, with characteristic kindness, had lunched the party, allowed it to sing to him, and sent it away rejoicing. Most of the boys "smelled a mouse," but the thing was undeniably true and much too important to be ignored. The Theatrical Women's Parker Club, "Piff, Paff, Pouf" and "The Royal Chef" were well advertised the next morning.

It was the failure of a prominent newspaper to mention either of our plays by name that drove me to further utilization of this scheme. Such an omission is always unfair and unjust. A story is good enough to be printed or it is not; if not, nobody has cause for complaint, if it is, there is no reason why a newspaper should deny the expected compensation. Resolving that I would compel this payment, I immediately arranged for a public meeting of the Theatrical Women's Parker Club. The Democratic National Committee furnished us with a cart-load of campaign literature and with three speakers, one of whom was Senator Charles A. Towne. The other orators we provided. They were Eddie Foy, Dave Lewis, Nena Blake, Grace Cameron and Amelia Stone. The juxtaposition, I felt confident, was sufficiently grotesque to provoke comment.

"A public meeting of The Theatrical Women's Parker Club"

I wrote nine political speeches for the occasion, held two rehearsals, and, when our advertisements failed to draw an audience, secured a fine one by sending to such congregating places as the Actors' Society. The affair passed off beautifully, Senator Towne adapting himself to circumstances and making one of the most graceful and agreeable addresses imaginable. I heard it from a nook in the fly gallery, where I remained until the meeting was adjourned. This "fake" accomplished its purpose, the delinquent newspaper falling in line with the others in publishing the story.

It would tax your patience and your faith in the existence of modesty were I to go into detail regarding a score of similar "fakes" which come to mind. How this same Nena Blake was kidnapped from the Garrick Theater, Chicago, and sent to New York in the costume she wore in "The Royal Chef"; how her sister, Bertha, was sent to Zion to kiss the unkissed son of John Alexander Dowie; how a supposed German baron threw across the footlights to Julia Sanderson a bouquet from which dropped an $18,000 diamond necklace; how a chorus girl named Thorne created a sensation at a Physical Culture Show in Madison Square Garden by declaring the costume she was expected to wear "shockingly immodest"; how a niece of Adele Ritchie changed her name to Adele Ritchie Jr., and Miss Ritchie herself was sought in marriage by a Siamese millionaire—all of these anecdotes must pass with the mere mention that they were successful "fakes."

The manner in which a good story may go wrong merits more extended description. While an extravaganza, yclept "The Babes and the Baron", was in town, I resolved upon a news event so complicated that I wonder now at my temerity in undertaking it. The idea was that some well known doctor should find on his doorstep one morning a young and pretty girl, fashionably dressed and intelligent-looking, but quite unable to recall her name or to give an account of herself. The doctor, naturally enough, would report the affair to the police, who, in turn, would give it to the reporters. These gentlemen, deceived by the fact that no possible advertising could be suspected in the case of a woman who looked untheatrical and who did not even know her own name, were expected to give untold space in the evening papers to the mystery. After the journals in question had been published, the girl was to be identified, so that her name and that of "The Babes and the Baron" might be printed in the morning.

It was necessary that, at this time, the victim should be able to give a good reason for her condition. The reason selected was as follows: During the performance of the extravaganza, some question had arisen as to the young woman's courage or cowardice. To prove the former, she had volunteered to hide in the Eden Musee and to remain all night in the "chamber of horrors." The terrible sights of this place had frightened her into hysteria; the porter, hearing her scream and believing her to be intoxicated, had ejected her; a kindly old gentleman had found her in the street and started to drive her to a hospital, when, becoming alarmed, he had decided instead to place her on the doorstep of a physician's house, ring the bell, and get away.

Anyone will tell you that the first essential to having roast goose for dinner is to get your goose. At least twenty chorus girls must have been interrogated before I found one willing and competent to try the experiment. Mabel Wilbur, afterward prima donna of "The Merry Widow", was chosen, and she spent eleven days being instructed in the symptoms of the mental disease known as asphasia. The officials of the Eden Musee, glad to share the advertising, carefully coached the porter in the story he was to tell. The stage manager of "The Babes and the Baron" was admitted into the secret and a bright journalist was engaged to hover about and superintend affairs. Of course, my appearance in the neighborhood of the sickroom would have been fatal to the "fake."

Miss Wilbur was left on the doctor's doorstep shortly after four o'clock one mild morning. From that time until night the scheme worked like a charm. Miss Wilbur, bravely enduring all sorts of physical and mental tests, passed the scrutiny of a dozen detectives and medical men. After vainly buying a dozen editions of the evening papers in an anxious effort to learn how matters were progressing, I suddenly found the journals filled with the affair. "The Mystery of a Hansom Cab—Pretty Girl Left on Doctor's Doorstep in Dying Condition" and "Police Have New Problem" were headlines that flared across front pages. Up to that point the story had been a huge success. There remained only the matter of identification to connect with the other story, like two ends of a tunnel meeting, and this promised to be a delicate matter. Say "chorus girl" to a newspaper man and he immediately becomes suspicious. Our hardest work was before us.

At nine o'clock the stage manager of "The Babes and the Baron" was sent around to recognize Miss Wilbur. It was he who had challenged her courage, and, alarmed at her failure to report for the performance, he had hastened to pick up the clue given him by the evening papers. Miss Wilbur's identity was established in the presence of a score of reporters and photographers, none of whom seemed to suspect anything. "At the hour of going to press" we all felt certain that we had "pulled off" the biggest theatrical "fake" known to history.

Every paper in town had the story the next morning—but it was the true story. A City News Association man had recognized my bright journalist, at that time passing himself off as a brother of Miss Wilbur, and the net result of our fortnight's toiling and moiling was some six columns of ridicule.

These confessions would be incomplete if I did not admit here and now that this story was the most ill-advised of my career. It brought discomfit and discredit to a dozen persons, it involved an attempt to deceive some of my best friends, and it put me in a bad light at the very time that the approaching premiere of a play from my pen made that most undesirable. A great many city editors have never forgiven me my part in this particular "fake," although the owner of an evening paper wrote me the next day: "I was fooled from first to last. You're a wonder. Congratulations."

Another bad mistake was my story regarding the willingness of the management to pay $50 a week for exceptionally beautiful chorus girls to appear in "Mexicana." The story was printed all over the world, but it caused critics to stamp as ugly one of the most attractive ensembles ever brought to New York. "If any of these girls," said The Sun, "gets $50 a week her employers are entitled to a rebate." I cannot place in the same catalogue Madame Bernhardt's appeal to the French Ambassador at Washington to protest against her exclusion from playhouses controlled by the so-called Theatrical Syndicate. Madame denied this over her own signature, but, from a press agent's point of view, it was an exceedingly creditable falsehood.

It is possible to discuss at endless length the real value of the "fake" and its place in theatrical advertising. Perhaps no one ever went to a theater merely because one of the performers at that theater was supposed to have bathed in milk or to have stopped a runaway horse. On the other hand, I am sure that no one ever went to a theater because he or she had seen the name of the play acted there posted conspicuously on a bill-board. The mission of the bill-board is to call attention to the fact that there is such-and-such an entertainment and that it may be seen at such-and-such a house. There is no question in my mind but that this much is done for a production by "fake" stories concerning it. In rare instances, where the story accentuates the importance of the presentation and its success, or awakens interest in some member of the presenting company, the service performed may be even greater. At all events, the average manager expects this kind of advertising from the publicity promoter to whom he pays a salary, and, naturally, the publicity promotor feels that it is "his not to reason why." The press agent realizes that to any failure on his part will always be attributed the misfortunes of the management with which he is connected. Productions do a good business because they are good productions, and a bad business because they have bad press agents.

Every theatrical newspaper man knows the anecdote of the German cornetist en tour with a minstrel company. The organization was toiling up a steep hill that lay between the railway station and the town. The cornetist was warm and he was tired. "The camel's back" broke when at last he stubbed his toe against a stone. Picking up the obstruction, he threw it as far away as he could. "Ach!" he exclaimed. "Ve got a fine advance agent!"

[THE WRITING AND READING OF PLAYS]

Being a discussion as to which pursuit is the more painful, with various entertaining and instructive remarks as to the method of following both.

At my side lies an advertisement reading: "I will teach you to write plays for $10!"

If the professor means that he can teach you to write plays that will bring you ten dollars, he may be speaking the truth. If he means that for ten dollars, or a hundred dollars, or a hundred thousand, he can teach you to write plays, he is a liar!

Aunt Emma, who represents the palmy days of the stage, and "used to be with Booth and Barrett", once gave me her opinion of schools of acting. "One can learn to fence", she said, "and to walk and articulate properly. But one cannot learn to think or to feel, and without thinking and feeling there is no acting." Precisely the same thing may be said of playwriting.

Of course, there is a great deal that the dramatist must know about drama. W. T. Price's interesting volume on the subject contains about a hundred iron-clad principles that should be read, and re-read, and then forgotten. Such of the number as cling to your subconsciousness can't do you any harm, and probably will do you a lot of good. The others might help to make you a capable mechanic. Rostand's rooster, once he had been told how to crow, couldn't crow—fell to the ground, as it were, between two schools. Bronson Howard, asked to compile a book of rules for playwriting, declined on the ground that he feared being tempted to follow them.

To learn to do anything—do it! If you would know how to write plays write them, read them, go to see them. Then think a while, and write some more. If you feel sure you have a big idea—and sometimes it seems to me that the big ideas come most often to people who can't use them—pool it with the skill of someone who is willing to give craftsmanship for inventive genius—and watch him. Avery Hopwood collaborated on "Clothes" before he went single-handed at "Nobody's Widow", and, midway, he leased his experience to the novelist who furnished the plot of "Seven Days." Harriet Ford helped Joseph Medill Patterson write "The Fourth Estate", and now Mr. Patterson is exhibiting signs by which one may predict that he will do something alone. Wilson Mizner worked with George Bronson Howard on "The Only Law", and with Paul Armstrong on "The Deep Purple", and we may expect soon a piece that will bear only the name of Wilson Mizner.

"What a lucky fellow!" we say occasionally of some new author who springs into notice. "His first play, and a huge success!" But every professional reader in town could tell you that this success wasn't "his first play." While I was reading for the firm of Sam S. & Lee Shubert, I saw three or four manuscripts from the pens of Rachel Crothers and Thompson Buchanan. "The Three of Us" did not surprise me, nor "A Woman's Way." I knew, and every man in my profession knew, that Miss Crothers and Mr. Buchanan had spent years turning out pieces they could not sell. They worked, and they studied, and they went to the theater thoughtfully until they could write pieces that would sell.

Poets may be born or made, according to the field they occupy, but playwrights must be born and made. However, there isn't the least use of dwelling on this fact. To the end of time men and women who wouldn't think of trying to fashion a horseshoe without first having served an apprenticeship with some blacksmith will go on endeavoring to create comedies and tragedies without having made the least effort to shape their talents—even to whet their instincts.

Once upon a time, in a speech delivered somewhere, I said that, everything else being equal, the author who had never produced a play had the best chance of producing a good one. I was wrong. It is true that the newcomer is likely to have fresher ideas than the old stager, and that generally he dramatizes a lifetime of experience, instead of dramatizing only what he has gleaned between contracts. That accounts for the fact that some tyros never repeat their primal successes. But, even in this period of the novice, when appreciation of novelty submerges appreciation of skill, statistics prove that a majority of the pronounced hits are the work of established authors.

We believe the contrary, as we believe that most marriages turn out badly, because beginners at authorship and enders of matrimony attract attention. Much was said of the novices who won laurels last season, and yet every single piece that ran a hundred nights or so on Broadway was by an Avery Hopwood, a Winchell Smith, or a David Belasco. Any number of brilliant young men flashed into view, and probably will remain in view, but, as yet, of necessity, they are conspicuous for promise rather than for fulfillment. The greatest originality, the most synthetic ingenuity, and the sharpest wit were displayed by H. S. Sheldon, in "The Havoc"; by Philip H. Bartholomae, in "Over Night"; by Anne Caldwell, in "The Nest Egg"; by Tom Barry, in "The Upstart"; by Al Thomas, in "Her Husband's Wife", and by George Bronson Howard and Wilson Mizner in "The Only Law."

The danger faced by new men is that they may be snuffed out by their first failures. Such an ungenerous reception as was given "The Upstart", for example, might well discourage an author to the utter ruin of his career. Managers, too, are likely to judge by the box office rather than by the play—an exceedingly short sighted policy in a "business" whose future depends upon the proper nursing of its infants. The fluttering fledgling of today is the eagle of tomorrow. Porter Emerson Browne, Jules Eckert Goodman, Edward Sheldon, Thompson Buchanan, Avery Hopwood, James Forbes, the debutants of yester-year, are the leading dramatists of this.

Naturally, everybody is trying to duplicate their experience. Everybody writes plays. Some time ago an ambitious individual walked into my office and announced that he had come from Rochester to submit a tragedy in blank verse. I suggested that he need not have gone to so much trouble and expense. "It wasn't any trouble or expense", he replied. "I had to come anyway. I'm a conductor on the New York Central."

Theodore Burt Sayre, who wrote "The Commanding Officer", and who is the reader for Charles Frohman, told me not long ago that his most persistent visitor was a policeman, who had composed a farce in six acts. He also showed me a letter the author of which declared "I seen menny plays that cost a doler and wasn't won-too-three with my play." Every manager in New York has received a Brooklyn shoemaker who feels certain he has produced a comic opera infinitely superior to the best efforts of Gilbert and Sullivan. Of the would-be dramatists in the learned professions, I should say that physicians are rarest as playwrights, that journalists provide the best material, and that clergymen produce the most and the worst.

With so many Cinderellas attempting to crowd their feet into the shoes of Pinero and Jones, there can be no limit to the number of manuscripts submitted each week to well known producers. The general idea, I believe, is that managers are quite buried beneath piles of plays. This is not absolutely true. Such an office as that of Henry B. Harris, in the Hudson Theater, or of The Liebler Company, in Fifth Avenue, may be the destination of from six to ten manuscripts a week. About a third of this number come from agents, and these are likely to receive quickest consideration, since the reader knows that, if they were utterly without promise, they would not have been sent him. The crop of flat and cylindrical packages fluctuates with altered conditions. The manager who makes money out of the work of an unknown author is sure to receive far more than his share of contributions during the next year or two. William A. Brady got a thousand plays a month from obscure aspirants immediately after the production of "'Way Down East."

It is a fallacy widely current among new writers that their "copy" is returned unread. One of the first theatrical stories I ever heard concerned a woman who put sand between the pages of her rolled manuscript and found it there still when the piece came back to her. Nowadays, when the demand for material so far exceeds the supply as to have become almost frantic, it is true not only that every play is looked into, but that almost every play is looked into by every manager. Round and round the circle they go, being judged from a hundred viewpoints by a hundred men who know that a lucky strike means a fortune, and who are eager in proportion. It is my firm belief that all the good plays, not to speak of a fair number of bad ones, have been or are about to be produced. Any piece that is not utterly, hopelessly valueless is sure to find some appreciator in the end. There are instances of manuscripts that, like "My Friend From India", travel up and down Broadway for years, only to be accepted and staged at last.

I have said that the dramatist who "arrives" generally has announced himself first through various rolled and typewritten visiting cards. The parcel that comes from Findlay, Ohio, or Omaha, Nebraska, bearing the address of some one of whom the reader never heard before, is pretty certain to be without promise. Usually, the manuscript betrays itself in its first ten pages, and what follows rarely contains an idea that might have been valuable even if its owner had learned his trade. When the manager does discover a story worth while, or the suggestion of a story, usually he is quick to put its originator in touch with a literary manicure.

Charles Frohman, who frequently is styled "The Napoleon of the Drama", takes no such Napoleonic chances. If you will look over one of Mr. Frohman's budgets you will find that two-thirds of the plays he announces have been presented abroad, and that the other third are from the pens of such celebrities as Augustus Thomas. Naturally, this is the safe, sane, and more-or-less sure method, and yet, even when judged from a purely commercial view-point, it has its disadvantages. If the system does not entail such losses as other managers suffer, neither does it render possible such gains. Mr. Frohman paid George Ade royalties for "Just Out of College", which was a failure, far in excess of those granted by Henry W. Savage for "The County Chairman." Popular dramatists turn out pretty poor stuff at times, as Mr. Frohman was reminded when he produced William Gillette's "Electricity", and excellent material may come from an unexpected source, as Wagenhals & Kemper discovered when they purchased "Paid in Full" from a man whose only previous work had been the unlucky "Sergeant James." As to the invariable wisdom of offering here plays that were hits in Paris and London, I can say only that sometimes we in America differ with our cousins in France and England. We differed widely in the cases of "The Speckled Band", "The Scarlet Pimpernel", and "The Foolish Virgin." It would appear to be a much safer expedient to turn over doubtful pieces to stock companies in one provincial city or another and then to abide by the result. This expedient, by the way, has the advantage of being inexpensive.

It is very difficult to identify a good play. When I was sixteen years old, and didn't know whether manuscripts were an inch thick or a mile, I felt quite sure that the manager who produced a bad play was a fool. I used to say this frankly in the newspaper on which I was employed, just as a lot of other cock-sure young men have been doing ever since. Latterly, however, I have observed that a great many experienced producers average about three failures to every one success, and I leave the superior attitude to the literatti whose cleverness is valued by their employers at from fifteen to fifty dollars a week. The late A. M. Palmer, after a long life-time of experience, said to me: "There does not live a man who can tell a good play from a bad one by reading it. If there were such a Solomon he would be worth half a million dollars per annum to any manager in New York. Personally, I have refused so many money-makers and accepted so many money-losers that I select material now-a-days by guess work. I tossed a coin once to decide whether or not I should buy what afterward proved to be one of the biggest hits of my career."

I have said that it is difficult to identify a good play; it should not be difficult to pass upon a bad one. Some of the things that reach our stage are so very bad that nothing in the foregoing paragraph excuses or explains their production. Several years ago there was referred to me a romantic drama, written by a visiting Englishman. I advised against it, but my employers were determined in its favor, and the piece was presented soon afterward at the Princess Theater.

On the opening night, just after the second act, Louis De Foe, dramatic critic of The World, came to me, and said: "I got here late, and so lost the thread of the story. Can you tell me what the play is about?"

"It is very difficult to identify a good play"

I tried and failed.

One of my employers stood nearby. "Let's ask him?" I suggested. We did—and he didn't know. "Haven't you seen it?" inquired Mr. De Foe.

"Yes", quoth the manager, "and I've read it, and—and it has something to do with love, but I—I forget the details." He suggested that we wait until after the performance and speak to the author.

That gentleman told us that the story concerned a soldier of fortune, who was about to do something or other—I don't remember what—when he received a letter that altered his intentions.

"So I observed", said Mr. De Foe. "But why should it have altered them? What was in the letter?"

The author looked at him blankly. "By Jove!" he explained. "I don't know. I never thought of that!"

The next day he drafted a letter that would explain matters and asked me to have it printed in the program. But, as the piece was to close the following night, it didn't seem worth while.

Of course, no play as bad as this should ever find its way to the footlights, and yet I am obliged to confess that a great many do. In fact, fifteen years of observation have forced me to the conclusion that the finer the texture of a play, the more unusual its theme, the smaller the author's chance of finding a manager for it. Also, one must admit, the smaller that manager's chance of finding a public. Though they are not so numerous as one would like to see them, we have producers of keen artistic sensibilities; some of them, like Charles Frohman, George Tyler, Henry B. Harris, David Belasco, Henry Miller and Wagenhals & Kemper, men who are not averse to losing money on a worthy enterprise or, at least, to taking a long chance of making it. For these men we should be grateful, and, though the New Theater has brought out nothing remarkable from an untried pen, we should be grateful, too, for an institution whose purpose is producing the best, whether the best is profitable or not.

So many mental qualities are essential to the correct appraisal of a play. For one thing, the manager must see not only what it is but what it may become. Often the hardest work in playwriting has to be done after the play has been produced. Pieces that seemed hopeless when they were acted initially have been turned into huge successes. Scenes are switched about, lines changed, often whole acts reconstructed. I know a woman who was compelled to cut her play in half after it was produced. Ordinarily one minute is required to act each page of typewritten manuscript, but this work, which contained only one hundred and fifty pages, ran nearly five hours. Difficult as such condensation must have been, the task that confronted the author in question was not to be compared with that of lengthening a play. It is not advisable for embryonic dramatists to cut too closely according to pattern. To tone down a strong play or shorten a long one is easy; to build up a weak play or successfully pad out a short one is impossible.

Most of the manuscripts that come to the desk of the reader do not prompt sufficient doubt for any manager to be willing to try them. A great many would seem to be the product of lunatics. Not long ago I had a dramatization of a Russian novel that contained eleven acts and twenty-one scenes. The adapter simply had melted down the whole six hundred pages of fiction and was trying to pour it onto the stage. Another offering, called "The Dogs of Infidelity", proved to be an argument against atheism in five acts and seven scenes. The scoundrel of this masterpiece was Robert G. Ingersol, and the play was accompanied by a cartoon showing the agnostic fleeing from two police officers, marked "Logic" and "Sarcasm", who were pursuing him at the bidding of Justice, in the person of the author. Beneath this picture were typewritten the favorable opinions of a number of people who claimed to have read the piece. Standing in the center of the stage, the villain of a melodrama still in my possession is supposed to commit suicide by exploding a dynamite cartridge in his mouth. Beneath the directions for this bit of business, the author has written: "The performance concludes here." I should think it might!

"A woman who was compelled to cut her play in half"

Of course, it is not often that one gets plays as absurd as these. If it were, the reading of manuscripts would not be so dull and profitless a task. The ordinary play is notable only for its crudity, its artificiality, its lack of color, and its hopeless failure to rise above the conventional and the commonplace. Dramatists follow each other like sheep, and the smaller the dramatist happens to be the more closely he follows. Thus it is that whenever somebody produces a piece with a situation that creates comment, every second manuscript one reads from that time on contains exactly the same situation. A long while ago I grew so much interested in the likeness between plot and plot that I catalogued two hundred plays according to their general character. The result was as follows:

Dramas in which woman goes to man's rooms at midnight37
Dramas in which woman betrays man and then saves him19
Dramas in which wronged woman gives evidence at end of play6
Dramas in which man unwittingly falls in love with woman meant for him9
Dramas in which woman unwittingly falls in love with man meant for her3
Dramas in which wealth is unexpectedly derived from a mine or a patent22
Dramas built on the question of "love or duty"24
Dramas built on the question of the fitness of a reformed man or woman to marry16
Dramas in which man or woman reforms the person he or she loves3
Comedies in which husband or wife ends the philandering of wife or husband by seeming to condone it20
Farces based on mistaken identity31
Dramas built around the necessity of a man lying to his wife28

The total of the table is not two hundred, because several of these plays had none of the features mentioned, while others had more than one.

Of course, it is well-nigh impossible for any dramatist, no matter how well-meaning, to devise unparalleled characters, situations and stories. Just as the fact that there are only so many notes in the scale has been urged as an excuse for composers whose music is reminiscent, so I would insist that there are only so many strings in the heart. There is a limit to the number of situations that can be brought about in real life, and, of course, there is a much more definite limit to the number of these situations which have dramatic value. In certain elemental facts all plays must be alike. For example, it is inevitable that a large number of plays shall have what is known as the "dramatic triangle"—which means the conflict of two men and a woman or of two women and a man. It is inevitable that a great majority of plays shall deal with that one great elemental emotion—love. Once, when I was very young indeed, I experimented in writing a comedy in which nobody was in love. The piece was presented in Washington, and, to the best of my recollection, it lasted two consecutive nights. This convinced me that there might be a line beyond which one could not go in the effort to be unique.

There are a great number of things, however, that are so hackneyed and conventional that it is no longer possible for an author to attempt them. I do not think any manager would buy another play in which the crucial situation was the concealment of the heroine in the apartments of the hero or the villain. From time immemorial this has been the stock episode for the third act climax in a four act play, and audiences have begun to expect it as they expect supper after the fourth act. Personally, I am free to confess that I should not be likely to recommend the purchase of any drama in which the conclusion of the third act did not bring a surprise calculated to make an audience sit up and take notice. No author of today would dare begin his work with a conversation between a maid and a butler. Neither would he care to conceal one of his characters behind a screen or to conclude his play with the finding of a bundle of papers. The cigarette is still the hero of the society drama, and it is still true on the stage that the happy conclusion of the love affair between the juvenile and the ingenue usually is coincident with the conclusion of the love affair between the leading man and the leading woman. We begin to have heroes who are not too angelically good, however, and villains who have motives more human than the mere desire to be beastly and draw a hundred and fifty dollars a week for it. Very slowly and gradually the perfect woman, the high-hatted knave, the wronged girl, the comic Irishman, the naval lieutenant of comic opera, the English butler and their associates are passing from our midst. Peace to their ashes!

Plays have their epochs, just as books do, and there are fashions in the drama as pronounced as those in dress. Always one successful work of a particular class brings about a host of imitations, and, for a time, it seems as though the public would never tire of that particular kind of entertainment. "The Prisoner of Zenda" was responsible for a hundred romances laid in mythical kingdoms; "Lady Windimere's Fan" brought drawing room comedy into vogue; "'Way Down East" bred a perfect epidemic of pastorals; "Sherlock Holmes" created a demand for plays concerning criminals. All of these varieties of entertainment, save possibly the last, have been laid on the shelf, and we now are going in vigorously for frothy farce and comic opera in long skirts. The manner in which one author follows the lead of another, as demonstrated above, extends beyond the selection of such important things as stories, and reaches even to titles. Ten years ago we couldn't have a name without the word "of" in it. On the bill-boards were advertised "The Whitewashing of Julia", "The Manoeuvres of Jane", "The Superstitions of Sue", "The Stubbornness of Geraldine" and a score of others. Then somebody christened a charming sketch "Hop-o'-My-Thumb", and for a while it seemed that we could get nothing but hyphenated titles, such as "Alice-Sit-by-the-Fire" and "All-of-a-Sudden-Peggy." Now-a-days the vogue seems to be the combination of an article and a noun—"The Boss", "The Nigger", "The Gamblers" and "The Concert."

Please do not understand that, in calling attention to these similarities, I intend to accuse anyone of plagiarism. Deliberate theft of ideas from contemporary offerings is likely to result in law-suits, and I don't believe that there are left in the printed dramas any ideas worth stealing. I used to hear an interesting story of Paul Potter's writing original plays in the Boston Public Library, but it seemed to me that much of his work was too good to have been filched from the old fellows whose publishers bound their vulgarity, their leaden dialogue and their uningenious situations in yellow covers. It is very difficult, as I have said, to squeeze new situations out of a dull world, from the manners and morals of which about four hundred dramas have been pressed every year during the past half century. It is especially hard to devise original material in America, where prudish restrictions hedge us about and anything deep and vital in life immediately is set down as immoral. American authors cannot wring novel incidents from the emotions; they must profit by such circumstances as the invention of wireless telegraphy and the automobile. The telephone and the motor car are speedily becoming bulwarks of the drama in the United States!

The possibility of giving subtle and original treatment to familiar phases of life, together with the attendant possibility of revealing human nature in the theater, hold forth the chief promise along this line. Clever twisting and turning will make a new incident from an old one, as is best demonstrated in what Beaumont and Fletcher did with Lope de Vega when they adapted "Sancho Ortez" into "The Custom of the Country", and playwrights are learning to turn little things to vital account in the construction of their plays. A glance at a photograph now-a-days is made to convey all what was indicated in a five-minutes talk between butler and maid twenty years ago.

As to the matter of heart interest, that, after all, is the thing that counts most, and that is eternal and inexhaustible. Charles Klein, author of "The Music Master", put this to me neatly not long ago in an attempt to prove the advantage of the realistic drama over the romantic. "Supposing a man comes to you", he remarked, "and says that his wife has just fallen out of a balloon. You're not sorry, because you can't understand why his wife should have gone up in a balloon. Let the same man say to you, however, that he is out of a position and that his family is starving, and see how quickly the tears will come into your eyes. So far as modern audiences are concerned, the old duel-fighting, hose-wearing romantic heroes are up in a balloon. We want sorrows and joys we can comprehend."

It is this creed that makes the new dramatist an entity worth seeking. If it proves difficult to discover him among the thousands who write plays, it at least is worth while to cultivate him when he is found among those who write promising plays. "By their works ye shall know them" is particularly applicable to the men who will some day succeed Barrie and Pinero. They will bear watching. If I were a producing manager I should keep in touch with the men whose first pieces indicate the possession of ability. I would set them at work, not at tailoring plays to fit personalities, but at realizing their ideas and their ideals. Certainly this great country is full of material waiting for dramatization, and it must be equally true that it is full of authors capable of accomplishing the task. They will not be the illiterate glory-hunters who deluge theatrical offices with their manuscripts, nor will they be the celebrities whose brains have been pressed dry. It were wise to look for them among the people whose professions draw them into close touch with the real world and the theater; among the newspaper men and the enthusiastic play-lovers; among those whose first and second efforts are now the financial failures on Broadway.

[THE PERSONALITIES OF OUR PLAYWRIGHTS]

Being an effort to out do Ernest Thompson Seton and Charles G. D. Roberts at their own game—which is speaking literally.

Not long ago an intelligent young man walked into a meeting of the Society of American Dramatists and Composers, at the Hotel Astor, and, after scanning the faces about him, inquired: "Is this the Cloak and Suit Manufacturers' Association?"

Don't blame the young man. If tomorrow you undertook on a wager to tell a prosperous tailor from a celebrated author, your safest plan would be to select the individual who looked more like a tailor, and say: "That is the author!" Among persons whose acquaintances do not figure in the public prints, except as "Old Subscriber" or "Vox Populi", the playwright is still supposed to be distinguishable by long, curly hair, a flowing tie, a high hat, and a frock coat, worn with the right hand inserted in the space between the first and second buttons.

As a matter of fact, this description fits only the quack doctor and the vender of patent medicines. There are flowing-tie playwrights, but generally they belong in the ranks of the ineffectual and the unproduced. One sees them oftener at studio teas than at "first nights." In whatever other respects they may differ, our dramatists are pretty much alike as regards the commonplaceness of their manner and appearance. Most of them regard the writing of plays as a business, and go about it as a baker goes about making his loaves or a plumber about mending a pipe.

On the whole, it is easy to understand the disappointment of a hero-worshipper to whom a companion pointed out Charles Klein. The author of a dozen successful pieces tells the story with great gusto. "It was on a ferry boat," he relates, "and two young chaps were standing near the forward doors. As I strolled past, one of them remarked: 'That's the fellow that wrote "The Gamblers."'"

"My chest had already begun to expand when I caught the rejoinder. 'Him!' exclaimed the other. 'Well, I'll be damned!'"

Augustus Thomas and David Belasco are two dramatists who would rob no layman of his illusions. Mr. Belasco, whose clerical collar and spiritual face have been pictured in numberless newspapers and magazines, looks every inch a poet, and his soft voice and far-away manner help sustain the impression. Mr. Thomas more evidently belongs to our own mundane sphere; he is a man of the world, distinguished by his poise and polish, by the suavity, reserve and equilibrium that come with confidence and after long experience. The late Clyde Fitch had these qualities, too. He was an artist to his finger tips, a thinker of fine thoughts and a dreamer of great dreams. This article originally began with an account of him, and, since Clyde Fitch was much more than a transient figure in our theater, I see no reason why he should be left out of it now.

"Mr. Fitch", I wrote the day he sailed for France, never to return, "is the son of a former army officer, forty-four years old, graduated from Amherst College, and has spent much of his life traveling about Europe. He is quite tall, rather thickly built, and has a heavy, dark mustache. My acquaintance with him dates from the performance of my first original comedy, 'The Little Gray Lady', and is due to a friendly feeling for the new-comers in his profession that is one of his finest traits.

"'The Little Gray Lady' was being presented in the Garrick Theater, and I was somewhat excited, the morning after its premiere, at learning that a box had been secured for Mr. Fitch. That night I stationed myself across the auditorium, so that I might judge how he enjoyed the entertainment. My heart almost stopped beating when, soon after the curtain lifted, the object of my interest arose from his seat, and manifested every intention of departing. 'Good heaven!' I exclaimed to myself. 'Is the piece as contemptible as that? And, even if it is, what an affront; what a rude thing to do!' My mortification was short-lived. Mr. Fitch and his party did walk out of their box, but only to take orchestra chairs, from which they had a better view of the stage. The next morning I received a generous letter. '"The Little Gray Lady" is a big "Little Lady", I think.' And would I lunch tomorrow at Mr. Fitch's town house, in East Fortieth Street?

"This house has afforded a wide-open outlet for its owner's constitutional lavishness, and is, perhaps, as luxuriously appointed and as exquisitely fitted as any residence of its size in New York. Mr. Fitch loves beautiful things, and invests in them with a prodigality that would frighten the heirs of a copper king. 'It doesn't matter how much money I make,' he said to me one afternoon. 'I spend a big income as quickly as a little one.' The Fortieth Street domicile is literally crowded with paintings, carvings, ceramics, and other objects of art. A gentleman who dined there recently had his attention attracted by three curiously wrought cigarette cases that stood on the table, one at each plate. He supposed them to be beaten brass, set with rhine stones, and was amazed when his wife discovered that they were of solid gold and diamonds. 'Their intrinsic worth,' he said, 'could not have been less than ten thousand dollars. Imagine my horror when I remembered that I had been on the point of inquiring whether they were meant to be dinner favors!'

"Mr. Fitch maintains two establishments beside the place in New York; one at Greenwich, called Quiet Corners—a young woman I know insists upon speaking of it as 'Cozy Corners'—and the other an estate of two hundred acres at Katohna, in Westchester County. James Forbes, who wrote 'The Chorus Lady' and 'The Travelling Salesman', relates an experience of a visit to the former residence. Here he found a stable, which, in lieu of horses, held hundreds of masterpieces in marble and bronze which the collector had not been able to resist purchasing, but for which he had no room in his house!

"Managers who make contracts with Clyde Fitch will tell you that he appreciates the value of money, but that commodity certainly doesn't cling long to his fingers. However, a responsible man can afford to be irresponsible, and an industrious man to be extravagant. Mr. Fitch has written fifty-four plays in less than twenty years, an average of one play every four months! When you stop to consider that an ordinary manuscript consists of about one hundred and thirty typed pages, and that each piece must be thought out, drafted and re-drafted, rehearsed and produced you will admit that the labor involved in making such a record must have been Herculean.

"Nevertheless, Mr. Fitch never seems to be hurried or worried. He entertains a good deal, goes to the theater frequently, and takes a boyish interest in trifles. It is this interest that fills his work with human touches, the small topicalities of the moment. I saw him one night at 'The Three Twins', and he commented laughingly upon the catchiness of the song, 'Cuddle Just a Little Closer.' Two months later I found that air as the motif, almost the Wagnerian theme, of his comedy, 'The Bachelor.'

"Clyde Fitch's ability to work under any circumstances"

"The secret of the Fitch productiveness undoubtedly lies in his ability to work under any circumstances, in odd moments. Austin Strong, author of 'The Toymaker of Nuremberg', and one or two other guests were spending a rainy week-end in the living room at Katohna, when their host excused himself, and, sitting at a desk the other side of the room, began writing. 'Go on talking', he said; 'you don't bother me.' He had plunged into the second act scene between Mabel Barrison and Charles Dickson in 'The Blue Mouse', and he finished it that afternoon. Mr. Forbes saw him one morning in Venice, gliding about in a gondola and scribbling as fast as his pencil could cover the pages. That exquisite bit of 'The Girl Who Has Everything', in which Eleanor Robson punished little Donald Gallagher by compelling him to strike her, was indited upon a pocket pad while the chauffeur was repairing the playwright's car, which had broken down between Greenwich and New York.

"Mr. Fitch abrogates to himself the task of producing his works, taking personal charge of everything, from the selection of the company to the designing of color schemes and the purchase of five and ten cent articles of bric-a-brac. Most people have heard of his skill at rehearsal. He and Mr. Thomas are two of the best stage managers in America. Seated quietly in a corner of the auditorium, or standing just back of the footlights, Mr. Fitch gives the directions that make his performances perfect mosaics of marvelously life-like minutae. Of stories bearing upon his quick perception, his instinct for detail, and his understanding of cause and effect there are enough to make a saga, but one anecdote will serve the purpose of this article.

"It was at the dress rehearsal of 'Girls', toward the end of the first act, when the young women were climbing into their roosts and saying 'good night.' A property man appeared with a radiator, which the author had insisted upon having in the setting, 'because I never saw a flat without one.' The stage hand set down his burden and was about to tip toe into the wings, when he was stopped by a sharp command. 'Wait!' exclaimed Mr. Fitch.

"The property man waited. 'Excuse me', he muttered. 'I didn't mean to interrupt—'

'Never mind that!' the dramatist continued. 'Look here! Miss Maycliffe says "Goodnight!" You wait two seconds and then hammer like blazes on a piece of iron behind that radiator. I want the noise that steam makes in the pipes—'

"'I'm on!' grinned the property man. So were the others. Everybody in that house had been awakened in the dead of night by the malicious clanking of the steam pipes, and everybody recognized the bit of every-day. The audience the next night was not less quick of perception, and the diversion proved, as you probably know, to be one of the most effective bits of comedy in 'Girls.'"

All this was written two years ago. Quiet Corners and The Other House are deserted now, and the beautiful things that filled them, and the residence in Fortieth Street, have been distributed. A part of the collection was willed to the Metropolitan Museum. It is pathetic to reflect that the first Fitch play to win unqualified praise from the critics was produced after the death of its author. Yet "The City" was not a better piece than "The Climbers", or "Her Own Way", or "The Girl With the Green Eyes", or "The Truth." Clyde Fitch was dead; therein lay the difference. The living Clyde Fitch always was treated by the journalistic reviewers as a sort of malefactor, as a man whose deliberate intent was to do bad work. Only his intimates know how keenly he felt this. "Newspaper praise," he said to me once, "is for the dramatist on his way up or his way down; never for the dramatist at the top." Clyde Fitch was the most brilliant man who ever wrote for the stage in America. Heaven rest his soul!

Augustus Thomas conducts rehearsals from an orchestra stall in the body of the theater, whence he shouts instructions through a megaphone. I have often printed the story of the retort courteous which he is said to have made to J. J. Shubert when that impressario interrupted a rehearsal of "The Witching Hour", but, in this connection, perhaps the tale will bear repetition.

According to my informant, the author of "Arizona" was intent upon a serious scene when Mr. Shubert, who was financially interested in the production, stopped the players, and, turning to Mr. Thomas, remarked: "I think this would be a good place for some witty dialogue."

"Yes?" replied Mr. Thomas. "As for instance?"

He is a bold and a foolish man who throws himself upon the point of the playwright's verbal poignard, for, among those who know him, Mr. Thomas is as famous for his skill with speech as for his skill with the pen. He smiles as he thrusts, but the results are none the less sanguinary. "I thought Thomas was a man", Paul Armstrong is reported to have said of him, "until I saw him take a handkerchief from his sleeve. Men have hip pockets for their handkerchiefs."

"I had," quoth Mr. Thomas, when he heard the remark, "until I began to have my clothes made by a good tailor!"

This ready wit makes the dramatist one of the best, if not the best post prandial speaker in New York. Never a banquet at which he talks but the street rings the next day with quips of his making. "The trouble with amateur carvers", he said at the Friars' dinner to John Drew, "is that the gravy so rarely matches the wall paper." On another occasion he characterized a fatuous argument as being "like a chorus girl's tights, which touch every point and cover nothing."

"Augustus Thomas shouts instructions through a megaphone"

Mr. Thomas finds time for many activities outside of his profession. Everyone knows of his energetic work for the cause of William Jennings Bryan. Throughout the three Bryan campaigns the dramatist made speeches, organized political meetings, and otherwise labored beneath the standard of the Commoner. Mr. Thomas' long suit is organizing. Upon the death of Bronson Howard, he succeeded to the presidency of the American Dramatists' Club, which he has metamorphosed into the Society of American Dramatists and Composers. The parent body was deep in the slough of despond, seeming to have no other purpose than proving that genius really is an infinite capacity for taking food. Mr. Thomas awakened the fraternal spirit, got committees to work on suggestions for plan and scope, benevolently assimilated a club of women playwrights, and created an association that is likely to be a power, instead of being merely a pow-wow, in the land.

The greater part of the year, Mr. Thomas lives at New Rochelle, but during the summer he goes frequently to his cottage, The Dingle, at East Hampton. He is a man fifty years old, and of particularly striking appearance. Tall, finely proportioned, smooth-shaven, with resolute face and hair just beginning to turn white, he would be observed in any gathering. As I have said, his manner is marked by complete self-possession, and a good deal of self-satisfaction. To this he certainly is entitled. A close friend of his believes that Mr. Thomas dramatized himself when he created the part of the quiet, masterful gambler, Jack Brookfield, in "The Witching Hour."

Charles Klein is of very small stature—a fact that probably accounts for the anecdote related earlier in my article. None of his family has been a sky-scraper. Manuel Klein, the composer, is not above five feet six, and Alfred Klein, another brother, who originated the role of the elephant tamer in "Wang", owed much of his success as a comedian to his brevity—that being, as you know, the soul of wit. Charles is the embodiment of dignity, and takes himself and his work most seriously. I think I have never seen a photograph of him that did not show him in his library, either writing or reading some ponderous tome. He has a fine head, with a lofty brow that grows to be a little loftier every year.

No estimate of Mr. Klein could be called complete which did not take account of his grit and stick-to-it-iveness. Connected with the theater from his earliest youth—he was call boy in the company with a relative of mine—he produced his first play when he was hardly more than twenty. His misses were many, and his hits few and far between, but he kept on trying, until, with David Warfield's first starring venture, "The Auctioneer", he struck the bullseye of public approval squarely in the middle. Today he probably is the wealthiest of our dramatists, and a couple of years ago it was estimated that his income could not be less that $3,000 a week. He owns a charming home, called Shirley Manor after the principal female character in "The Lion and the Mouse", at Rowayton, Conn. In the same town he operates a hat factory of which his son until recently was the manager.

In the adamantine quality of his "hard luck story", no one far surpasses Eugene Walter, whose income used to hover about that quoted as Mr. Klein's. It is told that this young man was lodging upon a park bench when Wagenhals & Kemper produced his "Paid in Full", but, personally, I am inclined to regard this tale as more picturesque than accurate. In need of money he may have been, but the parental Walters, who live in Cleveland, were quite able to prevent his lacking real necessities, and 'Gene himself has always been in the way of earning a living in the newspaper or the theatrical business. He served an apprenticeship as press agent of various attractions, and it was while both of us were acting in this capacity that we met at the Walnut Street Theater, in Philadelphia.

Mr. Walter's initial effort, "Sergeant James", had just been produced, and had scored an unquestionable failure. He told me the story of the piece, and "it listened good", but I could not believe it possible that the man opposite me was capable of winning a place in a profession of letters. Eugene Walter is not impressive to the naked eye. I had him in mind chiefly when I spoke of the ease with which one might mistake a dramatist for a prosperous tailor. Mr. Walter looks more like a neat and gentlemanly mechanic. He cannot be above thirty years of age, and his height and weight—he is five feet five and tips the scales in the neighborhood of a hundred and forty—make him seem to be about twenty-four. My recollection of his dress is that he usually wears a flannel shirt. I may be wrong as to this detail, but, in any event, his style and general appearance are such as to create the impression.

"Eugene Walter was lodging upon a park bench when Wagenhals & Kemper produced his 'Paid in Full'"

His demeanor suggests neither culture nor education, though, as I have said, he comes of a good family and had excellent schooling. The value of erudition, even so far as it concerns the technique of the drama, in the writing of plays he denies absolutely. In fact, I believe that his horror of being thought what he calls "a high brow" leads Mr. Walter to assume a contempt of art and letters, though he has it not. He has an intuitive appreciation of the beautiful, and yet, at a recent exhibition of the paintings of a great Spaniard, his only comment was, "Don't let's waste any more time in here!" "Playwrights are born", he has gone on record as observing. "You can't learn anything about playwriting."

If genius is the quality of doing by instinct, without great thought or labor, obeying the commands of a something outside of one's self, Eugene Walter is certainly a genius. If it is, as some philosopher has said, "an infinite capacity for taking pains", he is nothing of the sort. He works by fits and starts, idling unconscionably for months at a time, and then completing a play in a fortnight. "The Easiest Way" was written in ten days. Mr. Walter's method of composition really is nothing more nor less than improvisation—the method children employ when they "make things up" as they "go along."

The tools necessary to the process are one large room, one outfit of furniture, and one exceptionally rapid stenographer. Mr. Walter and the stenographer enter the room. The door is locked, and work is begun by placing the furniture as it is to be placed on the stage—in other words, by setting the scene. Then the young dramatist begins to act. He is all the characters in his play. He rushes about the apartment, quarreling with himself, making love to himself, now standing here as one person and then racing to the opposite end of the apartment to be another. All the time he is speaking the words that come into his mind as natural under the circumstances, and the stenographer is taking them down at top speed. At the end of an hour or two an act is finished, an invisible curtain is rung down, and, if the amanuensis hasn't fainted, as two did in one day of labor on "Paid in Full", the stage is set for the next act.

Of course, you understand that, before the play reaches this point, the story, the situations, and even some details of dialogue must have been carefully thought out. In connection with Mr. Walter, I should say that they must have had time to assemble in his mind, having popped in, like Topsy, already grown. He goes about with what he himself described to me as "a seething mass of stuff in my head" until the "seething mass" cries for release, and then—the impromptu performance before the audience of one. The quickness of Mr. Walter's conception, the instantaneousness with which drama is formed for him, is illustrated by an experience of last winter.

We had been to witness a bad play—one doomed to close the following Saturday. "Hopeless!" I said, as we left the theater.

"Hopeless", repeated Mr. Walter, "but not without possibilities. If that idea had been mine, I should have commenced with the big situation of the third act. Then I should have worked backward, using the story of the—"

In five minutes he had sketched a new play, constructed around the theme of the old one, and it was a corker!

As everyone knows, Eugene Walter was married recently to Charlotte Walker, the actress, and it is common knowledge, too, that both were bitterly disappointed at David Belasco's refusal to assign the principal role in "The Easiest Way" to Miss Walker. For this disappointment her husband tried to atone by fitting her with "Just a Wife", but the piece failed sadly at the Belasco Theater. The Walters live in the Ansonia Apartments, in upper Broadway, but they are contemplating the erection of a home near Long Island Sound. The man who writes plays, or, for that matter, any other man who performs labor requiring close concentration, finds it impossible to do his best in New York. "The very air is laden with distraction", says George Broadhurst, author of "The Man of the Hour." "When I want to work I get as far as possible from Forty-second street."

A dramatist of a pattern with Eugene Walter's, though drawn in bolder, blacker lines, is Paul Armstrong, to whom theater-goers owe "Salomy Jane", "The Heir to the Hoorah" and "Alias Jimmy Valentine". Mr. Armstrong's contempt for the ordinary amenities, the graces of every-day, is own big brother to Mr. Walter's. He is a big, fine-looking fellow, characterized by tremendous vigor and virility, by what he himself would call "the punch." He is aggressively self-confident, where Augustus Thomas is only passively so; combative by disposition and much inclined to talk in superlatives. His broad-brimmed hat and his black imperial suggest the Westerner, though most of his life has been spent in New York. He was formerly a well-known authority on pugilism, writing for the Evening Journal under the nom de plume of "Right Cross."

Mr. Armstrong's hatred of theatrical managers used to be a by-word, but it has been less so since he himself undertook the production of his own melo-drama, "Society and the Bulldog." His experience with one impressario, A. H. Woods, to whom he sold "The Superstitions of Sue", is as amusing a story as I know.

"The Superstitions of Sue" already had been accepted by the two senior members of the firm of Sullivan, Harris & Woods, and Mr. Armstrong had an appointment to read the piece to the junior member at eleven o'clock one bright Sunday. Promptly at that hour, he appeared at the Woods residence, in Riverside Drive, accompanied by two friends. Introductions followed, and the friends sat down, with Mr. and Mrs. Woods, to hear the new farce.

Mr. Armstrong had hardly begun when the visitors burst into a roar of laughter. They howled afresh at every line, including descriptions of characters and "business", and the rendering was concluded with the pair rolling about in a perfect ecstacy of mirth. Mr. Woods regarded them with sober suspicion. His risibles hadn't been touched, but, when Mrs. Woods joined in the merriment, he determined that he didn't know humor when he met it, and, the seance being over, closed a contract to present "The Superstitions of Sue."

When the men had gone, Mr. Woods said to Mrs. Woods: "I suppose I'm dull, but I thought that play duller still. Of course, Armstrong's friends were brought to laugh, but when you began laughing, too, I knew the piece must be funny."

"Why", responded Mrs. Woods, "I only laughed because the others did. I wanted to be civil."

"The Superstitions of Sue" was one of the worst failures of its year.

I have spoken of Eugene Walter's method of work, but that method is not more remarkable than the faith in a special environment held by James Forbes. Even while he smiles at his own credulity, Mr. Forbes believes firmly that he can put forth his best effort only in Room 371 of the Bellevue Hotel, in Boston. Whenever he "feels a play coming on", he boards a train, journeys to The Hub, and locks himself up in the apartment which bears that number. There he composed the scenarios of "The Chorus Lady", "The Travelling Salesman," and "The Commuters."

"I can think more clearly on a railway train than anywhere else", declares Mr. Forbes. "A chair car is the ideal place for concentration." This young fellow differs from his colleagues in his inability to work in the country. He owns and occupies a veritable palace at Croton-on-Hudson, but he never attempts anything important there. He says: "I find my surroundings too alluring. Only conscience keeps me at a desk anyway, and conscience is weaker than the charm of outdoors." One rather fancies that Jimmie's conscience—he is "Jimmie" to his friends—is pretty rigid. He comes of Scotch ancestry, and was reared in a Scotch Presbyterian community in Canada. "The theater was held up to my youthful attention as a dreadful place", he told me one night, when we were lingering over supper. "The stock story in my family concerned a playhouse in Edinboro, which, being used sacreligously for the representation of a scene in heaven, was promptly burned, with every soul in it, as a divine judgment.

"This tale stuck fast in my memory. At the age of nine I stole away to see 'Uncle Tom's Cabin', and, when the transformation showed Little Eva in Paradise, I slipped out and waited in the street for the theater to burn down. I was terribly disappointed that nothing of the sort happened, and, after hanging around for the better part of the afternoon, I went home a confirmed agnostic."

Jimmie drifted from Scotch Presbyterianism into dramatic authorship by easy and natural stages. First he was employed in a wholesale grocery store, then he became an actor, a newspaper man, a press agent, a manager, and, finally, a playwright. A short story, which he had published under the title of "The Extra Girl", suggested "The Chorus Lady", and an acquaintance with Rose Stahl, who had been leading woman of a company in which he had acted, lead to her being chosen for the principal role in the one act play of that name. Mr. Forbes soon saw the possibility of amplifying the sketch into a four act comedy, and, though Miss Stahl was not enthusiastic about the idea at first, he induced her to assume the part in which she has since appeared more than a thousand times.

Mr. Forbes is a boyish-looking young man, small in stature, nervous in manner, with a swarthy skin, and an ocean of forehead into which descends a peninsula of glossy black hair. He is general manager for Henry B. Harris, and has numberless business duties to perform in his comfortable little office in the Hudson Theater. He writes exclusively for Mr. Harris, and has an interest in the profits of his plays, besides the regular royalties, so that he has made a considerable fortune out of three big successes. Mr. Forbes probably is the only dramatist in the world who, in addition to writing his play, stages it, attends to the details of business management, plans the advertising campaign, and supervises the press work.

Winchell Smith, who made the comedy, "Brewster's Millions", and who is author of "The Fortune Hunter", says he chose dramatic authorship "because you don't have to be grammatical in plays." "I couldn't write a magazine article for a million dollars", he adds, "but dialogue comes easy to me." However, Mr. Smith, like many others of his cult, hates "the drudgery of composition." He likes to plan a new piece, but wishes that the manuscript "could be got out of my head by a surgical operation." Mr. Smith is a tall, slender, diffident young man, with a keen sense of humor and a varied experience. He began life in the grain and feed business in Hartford, and acted for many years in support of that still more celebrated Hartfordian, William Gillette. Langdon Mitchell, author of "The New York Idea", and John Luther Long, author of "Madame Butterfly", both are Philadelphians. Mr. Mitchell won fame as a poet, under the pseudonym of John Philip Varley, before "Becky Sharp" brought him to the attention of theater-goers. Mr. Long, whose ethereal fancies are so charming, pretends to practice the prosaic profession of law at 629 Walnut street.

Eugene Presbrey, grey-bearded, vibrant, intense, devotes himself mainly to the adaptation of novels. "I want the novel that can't be dramatized!" he declares, and, for this reason, he found much pleasure in doing "Raffles." It seemed a hopeless task to win sympathy for a confirmed criminal, and Mr. Presbrey had about abandoned the task, when, one evening in Seventh Avenue, he saw a man running at top speed, a crowd in pursuit, and heard the cry: "Stop thief!" "The fellow was just behind me", says the author, "and, turning around, I got a good view of his hunted, desperate expression. Before I knew what I was doing, I whispered: 'Get up the alley!' And I didn't tell the policeman. 'No sympathy for a criminal!' I exclaimed to myself, when I had leisure to analyze my action. 'Why, every human being is a criminal at heart! He knows that, under certain circumstances, he might be the fugitive, and he feels sorry for the other fellow in proportion.'" Mr. Presbrey wrote "Raffles" in three weeks, and it has been acted in every country that boasts a theater.

I have at my side a list of some thirty men and women who write plays and of whom I could chat indefinitely. Each of these authors is so interesting, all of them have lived so many stories, that it is hard for me to admit a space limit and forebear being their Boswell. There is George Broadhurst, lean and business-like, who made a reputation by his farces, and then, when that had been forgotten, made another by his serious dramas. There is Paul Potter, white-haired, rotund, genial, the intimate friend of Charles Frohman, and the adaptor of "Trilby." There are earnest young William C. De Mille, author of "Strongheart"; Paul Kester, a wisp of a lad, timid and self-conscious, who glories in swashbuckling melodramas and who did "When Knighthood Was in Flower"; Thompson Buchanan, newspaper reporter to his finger tips, who landed a big success in "A Woman's Way" and afterward wrote "The Cub"; Sydney Rosenfeld, the wit and dreamer, one time editor of Puck, who refused to turn out a book sub rosa with Augustus Thomas because he objected to any scheme "which involved pooling our separate fames to become anonymous"; and there are a whole army of brilliant young chaps, like William J. Hurlbut, of "The Fighting Hope", who lives a stone's throw from me at Shoreham, L. I., and Avery Hopwood, who collaborated with me in producing "Clothes", and with Mary Roberts Rhinehart in producing "Seven Days."

I should like to tell you about pretty Margaret Mayo, who has built a villa from the proceeds of "Polly of the Circus", and whose first fame as a playwright was achieved under circumstances described elsewhere in this book. Rachel Crothers is a sedate, New Englandish young woman, who used to teach acting in the Wheatcroft School, and whom I met when she was going from office to office with the manuscript of "The Three of Us." Rida Johnson, famed for "Brown of Harvard" and "The Lottery Man", is tall, dark, fine-looking, and her professional career began when she was leading woman for her husband, James Young, in her first play, "Lord Byron." I can't make you acquainted with people in a line—only Kipling can do that—and a proper description of all our playwrights would fill a volume.

They are, for the most part, a quiet, unassuming lot, constituting, of course, the brains of the theater, and lacking wholly the pose and self-importance of their creature, the actor. They are of the stage, and yet singularly apart from it, the glare of the footlights being merged for them with the soft red glow of the library. I am glad to have been their press agent this little time, for the majority of them are almost unknown to the very throngs they entertain vicariously. The wig-maker has his name on the program in larger letters than they, and the chorus girl receives infinitely more attention from the newspapers. More than any other class of men, I believe them to be actuated by the desire to do fine things. "I want to write plays that add to the joy of life!" exclaims one of the cult, looking over my shoulder. "I shall never write a play that does not contain something of hope and happiness!"

"Margaret Mayo built a villa from the the proceeds of 'Polly of the Circus'"

[STAGE STRUCK]

Being a diagnosis of the disease, and a description of its symptoms, which has the rare medical merit of attempting a cure at the same time.

"From the stern life of an officer in Uncle Sam's Navy to a merry job carrying a spear in the chorus of a musical comedy may be a far cry", but that is the step which a metropolitan newspaper recently recorded as having been taken by a young man named in the story whose beginning is quoted above. On another page of this same newspaper was an article which announced that "because pink teas, bridge whist, and dances no longer amused her", a certain "society woman" had joined the chorus of a company appearing at the Casino. These two cases composed a single day's list of casualties from the malignant disease known as stage-fever.

When my eye had finished its journey over the accounts of the "society woman" and the naval officer, I paused to wonder whether either of these aspirants would be checked by seeing spread-headed over the first page of the journal in question the horrid details of a theatrical suicide. The night before, an actress of reputation—a woman who had won everything that these new-comers had but a faint chance of winning—had killed herself in an hotel in Baltimore. Of course, it had not been shown that this "star" was influenced by any circumstance connected with her work, and, of course, it is true that people of various professions are self-slain, and yet—I wondered.

"The malignant disease"

If the naval officer was restrained in his resolve it was not for long. A week or so later I saw this impetuous youth, who couldn't stand "being bottled up on a battle-ship", on the stage of an up-town theater. He was standing near the middle of a row of young men, waving his hands at stated intervals, and singing "yes—yes" at the end of every second line rendered by the principal comedian. He had but to wave his hands a moment too soon or too late in order to incur a fine or a reprimand. Perhaps by this time he has discovered that there are worse misfortunes than being "bottled up on a battleship."

Whether he does or not, the stream of the stage-struck will continue to flow like the brook poeticized by Tennyson. There is no stopping it. Youth has a better chance of missing measles or scarlet-fever than of escaping that consuming passion to "go on the stage." Nearly everyone struggles with the mania for a time; the wise conquer it, the foolish make up the comic opera choruses, the unimportant road companies, and the stage-door-keeper's list of "extra ladies and gentlemen." From every class and walk of life, from every town and city troop the victims, abandoning their vocations and their homes, as though they had heard the witching notes of a siren song. They come with high hopes and bright dreams, most of them to the great, gay city of New York, where they besiege the agencies, and the managers, and the teachers of acting until their dreams fade, or their money gives out, or they are smitten with realization. There is hardly a community in the country so small as to be without its "amateur dramatic club", and no one even distantly connected with the theatrical profession has lacked his or her experience with the innoculated unfortunate who knows that "I could succeed if I only had a chance."

Some time ago I happened to be in Syracuse, and used the long-distance telephone to communicate with New York. My conversation over, I sat down in the hotel lobby, and had just lit a cigar when a page announced: "Long distance wants you." I returned to the booth. "Yes?" I inquired. A woman's voice replied: "I overheard enough of your talk with New York to judge that you're in the theatrical business."

"I'm indirectly connected with it", I replied.

"Well", said the voice, "I'm the long-distance operator, and I want to go on the stage. Please get me an engagement."

I explained my misfortune in being acquainted with no manager who was likely to consider extensive training in enunciation of "hello" and "busy" sufficient education for the stage. The lady probably didn't believe me, for it is the popular impression that anyone concerned in the business of the playhouse has only to ask in order to receive a contract for whomever he wishes to assist. That song-heroine, who declared herself "an intimate friend of an intimate friend of Frohman", has her prototype in real life. Moreover, no aspirant to footlight honors ever can be convinced that actors must be made as well as born, and that there may be a few people in the world, who, given the opportunity, would not become Modjeskas and Mansfields.

William A. Brady once was served at dinner by a waitress whose surliness astonished him. He made no remark, however, and at last the waitress addressed him. "You're William A. Brady", she said; "ain't you?"

Mr. Brady confessed.

"'You're William A. Brady, ain't you?'"

"Well", exclaimed the duchess of dishes, "my name's Minnie Clark. I've been a waitress since I was fourteen years old, and I think I can stand it until about next Wednesday. Give me a job, will you?"

David Belasco had a less amusing experience with a chambermaid in Attleboro, Mass., where he spent a night with the organization supporting David Warfield in "The Auctioneer." This girl, whose tap at the door interrupted the wizard producer while he was blue-penciling a scene, had just heard of his presence in town, and lost no time approaching him. She had been stage-struck since childhood. Hearing of Mr. Belasco's success in teaching dramatic art, she had determined to visit him in New York. "I saved my money for three years", she said, "and then I went up to you. I called at your office every day, but they wouldn't let me in. When all my money was spent I came back home, and began saving again. I had about half enough when I found that you were coming to Attleboro." Mr. Belasco was unable to give the girl the least encouragement. She was wholly illiterate, and, moreover, her death warrant was writ on her face. She was suffering from an incurable disease of the lungs.

Collin Kemper, one of the managers of the Astor Theater, recently had a letter from an elderly priest, who, after twenty years in the pulpit, felt that he wanted "a larger field of expression", and yearned to play Shakespeare. A wrinkled old woman of sixty sought the late Edward Marble, when he was conducting a school of acting in Baltimore, and confided in him her desire to be seen as Juliet. This desire she had cherished nearly half a century when the death of a relative gave her the means of gratifying her ambition. Daniel Frohman once received a young man, who laid on his desk a letter of introduction from an acquaintance in the West. "Ah!" said Mr. Frohman. "So you wish to become an actor?"

"Yes", replied the young man. "I'm puh-puh-puh-perfectly wa-wa-willing to ba-ba-ba-begin at the ba-bottom—"

"A wrinkled old woman confided her desire to be seen as Juliet"

He stuttered hopelessly.

The most astonishing feature of stage fever, however, is that its ravages are not confined to the ranks of people who would be bettered by success in their chosen profession. My wealthiest friend, a silk importer, who owns a charming home in Central Park West, dines alone while his wife stands in the wings of a dirty little theater in Paris, where their only daughter earns a hundred francs a week by dancing. A successful literary man of my acquaintance, who would cheerfully devote his entire income, something more than fifteen thousand a year, to making his young wife happy in his cozy apartment yields per force to her wish to appear in vaudeville. The most valuable member of the staff of an out-of-town newspaper, recipient of a big salary, suddenly threw up his position two years ago, since when he has been employed seven weeks, and that seven weeks in an organization presenting "The Chinatown Trunk Mystery."

A. L. Wilbur, at the time when he conducted the well-known Wilbur Opera Company, printed in the program of his performances an advertisement for chorus girls. Successful applicants were paid twelve dollars a week, yet recruits came by the dozens from the best families in the territory through which the aggregation was touring. Scores of the young women who play merry villagers on Broadway today are well born and bred victims of the virus. "Society" has contributed even to the ranks of the chorus men, whose caste is far below that of their betighted sisters. When Maybelle Gilman opened her metropolitan season in "The Mocking Bird" a male chorister, whose weekly stipend was eighteen dollars, electrified the management by purchasing nine boxes. This Croesus of the chorus proved to be "Deacon" Moore, a Cornell graduate and son of one of the biggest mine operators in the West.

The germ of stage fever frequently is as slow to get out of the system as it is quick to enter it. Douglas Fairbanks is a clever comedian, who, after a long apprenticeship, has been elevated to the stellar rank by William A. Brady. Mr. Fairbanks fell in love with the daughter of Daniel J. Sully, and, according to report, was given parental permission to marry her if he would abandon his profession. Mr. Fairbanks retired from the stage, and was out of the cast of "The Man of the Hour" for a trifle less than two months. Margaret Fuller came to town a few years ago with an ambition to star. She enlisted the help of a well-known manager, who told her that he would give her a chance to play Camille if she could get rid of twenty pounds of superfluous flesh. Miss Fuller presented "Camille" at a special matinee, and has not been heard of since. She is still in the theatrical profession, content with minor roles, but clinging tenaciously to the vocation. There are hundreds of men and women haunting the agencies in New York, promenading that graveyard of buried hopes, The Great White Way, who might be enjoying the comfort of luxurious homes and the affectionate care of doting relatives.

In nine cases out of ten the mania to go on the stage is prompted by pure desire for glorification. Love of excitement, and the fallacious notion that the profession is one of comparative ease and luxury, may be alloying factors, but the essence of the virus is vanity. No other field offers the same quick approval of successful effort, and no other climber is quite so much the center of his eventual triumph. In the other arts, approbation follows less promptly and is less direct. The fortunate player hears the intoxicating music of applause a dozen times every evening and two dozen times on matinee days. He struts about his mimic world, the observed of all observers, conscious of the strained attention of the thousands who have paid to see him, profiting not only by his own achievements but by those of the author, the director, the scene-painter and the orchestra. The newspapers are full of his praise and his photographs, recording his slightest doing and giving to the opinions expressed by him, or by his press agent, an importance scarcely less than might be accorded the President of the United States. In the course of time he even begins to arrogate to himself the heroic virtues of the characters he impersonates. It is sweet to see one's name on the cover of a novel, sweet to scrawl one's autograph in the lower left-hand corner of a painting, but O, how doubly and trebly sweet to meet one's own image lithographed under a laudatory line and posted between advertisements of the newest breakfast food and the latest five cent cigar!

The temptation is the stronger, as the rewards are more numerous, if the aspirant happens to be a woman. The gentler sex may not have greater vanity than the stronger, but it takes greater delight in commendation and it has keener appreciation of luxury. If the much-mentioned "society belle" longs for the glitter and gaud supposed to exist behind the footlights, how can one blame the daughters of poverty and squalor who make up the rank and file of the chorus? James Forbes has embodied the minds of these girls in his Patricia O'Brien in "The Chorus Lady." What wonder that they try to escape the sordid commonplaces of their poor lives for the glory of the theater, and delight to strut their "brief hour" in a palace, even if that palace be of canvas and scantling? The prospect of diamonds and automobiles cannot exert a stronger appeal to the men and women who dwell in dreary drudgery than does the hope of becoming somebody, of enjoying even a temporary illumination of their obscurity.

Charles Dickens vividly explained the psychology of this longing for prominence in his chapter on "Private Theaters" in "Sketches by Boz." In his day there were scores of these institutions in London, each "the center of a little stage-struck neighborhood." In the lobby of each was hung a placard quoting the price for which willing amateurs might play certain desirable parts. To be the Duke of Glo'ster, in "Richard III", cost £2, the part being well worth that amount because "the Duke must wear a real sword, and, what is better still, he must draw it several times in the course of the piece." We have no such private theaters on this side of the water, but there are nearly two hundred amateur dramatic clubs in Brooklyn, while other communities possess these organizations in proportion to their size.

"How sweet to meet one's own image"

There are three well-trod roads to the stage. One wanders through membership in a society like those mentioned, another and straighter is by way of the dramatic schools, while the third, and most frequented, goes direct from the home to the office of agent or manager. Of dramatic schools the number is legion, but only those conducted by dishonest adventurers promise employment to the enrolled student. "Be an actor for $1", is the alluring caption of an advertisement carried weekly by a number of periodicals, but the aspirants who make it profitable for that institution to go on advertising must be exceptionally gullible. New York has many "academies" in which useful technicalities of the art are carefully taught, and the managers of several of these "academies" keep in close touch with the producing interests of the country. While they guarantee nothing, they frequently are able to place their graduates in small parts. Grace George, Margaret Illington, and other well-known stars have come out of these schools.

The direct path to which reference has been made is full of difficulties and obstacles. Agencies are established with the purpose of helping communication between managers and the actors most in demand. They are busy places, with little time to devote to the novice, and the average impressario is not more nearly inaccessible than their executive heads. Every year the producing manager is less inclined to see applicants or to make opportunities for people of whom he knows nothing. It is all very well to be recommended by some acquaintance of the man who "presents", but friendship is only friendship, and nobody will risk the success of a production that has cost thousands of dollars merely to please an associate. The current method of selecting a company is quick and simple. A copy of the play's cast is sent to the manager, who writes opposite each character the name of the actor whom he thinks most likely to interpret that role to advantage. Then the manager's secretary sends for the fortunate Thespian. This system is undeniably hard, and perhaps unjust to the beginner, but such sentiment as gets into the theater comes in manuscripts, and, in these days of severe critical judgment, the investor in drama has the fullest right to minimize his risk.

Out of every hundred tyros who come to town in search of an engagement ten may secure the coveted prize, and not more than one person out of that ten makes a decent living from his or her adopted profession. It is too much to say that one aspirant in a thousand achieves real success. The average salary in the chorus is $18, and for speaking parts in dramatic performances it cannot be more than $40. No one is paid during the period devoted to rehearsal, and a long season lasts somewhere between thirty and thirty-five weeks. The sane way of computing wages in the theatrical business, therefore, is to multiply by thirty and divide the result by fifty-two. Following this system, it will be seen that the seeming $40 a week really is only $23. The most ardent and ambitious among the stage-struck will admit that this is not an income permitting the employment of a chauffeur or the purchase of a palatial residence on Riverside Drive.

Nor is the matter of remuneration the only disappointment connected with entrance into the theatrical profession. This is the one vocation in which the worker must begin again every year. If the fairly-successful actor "gets something" for the current season, he will find almost equal difficulty in getting something else for the season to follow. Unless he has made a prodigious hit—and prodigious hits are very rare—he finds himself no farther advanced next June than he was last September. Should he be lucky enough to remain in New York, he occupies a hall room in a boarding house, and, failing in this doubtful good fortune, he faces a long term on "the road." Excepting only solitary confinement in prison, the world probably holds no terror surpassing that of touring the "one night stands." Lost to his best friends and companions, travelling at all hours of the day and night, grateful for board and lodging that would not be tolerated by a domestic servant, the player with a small road company has ample reason to repent his choice of a career. To illustrate the universal dread of this fate, I quote the lines printed under a comic picture in the Christmas issue of a prominent dramatic weekly:

DOCTOR—You're pretty badly run down, my friend. I should advise change of scene.

PATIENT—(Just returned from thirty weeks of "one night stands" with the Ripping Repertoire Company). Heaven have mercy on me! (He dies).