Public ledger. [volume] (Memphis, Tenn.) 1865-1893, 1881-11-15
GRIP al wINKLE."
How Irving's IdyIIic story Be
came a PIay---The Origin OF
JefersOn's Masterpiece.

JcueFSOnB uNstcFpACVCs
In "Tho JefTersons," the second
volume of the American Actor Be
riesD lust published by Messrs. J. Il.
Osrood & Co., Mr.. William Winter
eiyes an interesting account OF the
origin Of "Trip Van Wrinkle" and re
lates how Mr.. Jefferson cRme to play
the role, which he has made famous
on the English.speaking stage the
world over. The story Of rip Van
Winkle," by Washington Irving, as
every reader knows, is contained IN
his beautiful sketch Book" which
was published in 1919. Bayard Tay-
lor mentions the legend as OF remote
German origin. When it was first
dramatized, is not exactly known but
a play entitled rip Van Wrinkle
was presented at the Walnut-street
theater. Philadelphia, as early as Oct.
30, 1929, with William Chapman as
Rip. Hackett produced RIP Van
Wrinkle" at the old Park theater, New
York, on April %, 1880, and probably
was himself the author Of the version
he produced. Ludlow also notes that
Burke, who, long aftcrward, followed
Hackett in the part, made use of a
stage version similar to this one.
THE BURKE COPY,
though, was largely hig own work.
Hackett supplemented his first Park
theater essay in the part Of Rip by
producing the old piece at the Bow
cry, New York, Aug. 10, 1880; and on
April Is, 1881, he again brought out
"Trip Van Wrinkle" at the Park,
"altered (by himselD from a piece
written and produced in London"
Parsons, Chapman, Hackett, Yates.
Flynn, Isherwood and Burke we're all
predecessors Of Jefferson in rip Van
Wrinkle" and probably there were
Others. The subject seems to have
been viewed as common property,
and lit is, perhaps, impossible to as
certain who made the first play upon
lt that ever was acteu.
The Burke copy answered Jefferson's
purpose for a long time; but at last,
under his numerous changes, it be-
came, says Mr.. Winter, almost as neb-
ulous as the unwritten constitution
of England. On arriving in London
in the summer Of 1865, therefore, JEFF
ferson commissioned Dion Boucicault
to revamp the old play.
TIE NEW VERSION.
HE asked Boucieault to recon
struct it, writes Clark Davis, land
gave it the weight ofhis name. Many
Of the suggestions Of changes came
from Jefferson aud one, at least, from
Shakespeare. Boucicault shaped them
in a week, 4 4 4 but be had no
faith in the success Of his work, and
told Jefferson that it could not posi-
bly, keep the stage for more than a
month. While much of the first and
third act was the conception Of Burke,
part of each was Jeferson's. = 4 =
The impressive ending of the first act
is wholly B~oucicault's, but the climax
of the third-the recognition-is
Shakspeare's. y y In Rip Van
Wrinkle the child struggles to a rec
ignition of her father, while in Lear
the father struggles to recognize his
child. Compare the two situations
that of Lear aud Cordelia with that of
Meenie and Rip-and the source Of
B~oucicault's inspiration will be appa-
rent; and only as Shakespeare is greater
than Boucicault is the end of the
fourth act of Lear greater than the
third act Of Rip 1t is the most
beautiful Of all human passions-the
love between father and child-which
informs them both. and which makes
them both take hold upon the heart
strings with a grasp of iron. The
second act of Rip Van Winkle,' which
is remarkable as being wholly a mono
logue, is entirely Jefferson's concep-
ton"
The piece as it now stands was, on
September 4, 1865, produced at the
London Adelphi.
A SINGULAR INCIDENT.
that preceded its production is related
by Mr.. Winter. On the night before
his first appearance 10 London, Jeffer-
son, who was naturally nervous and
apprehensive, retired to his apart
ment. and, in a mood of intense
thought and abstraction, proceeded 10
make himself up for the third act OF
"Trip Van Wrinkle" This done, and
quite Obliyious of his surroundings be
began to act the part. Dominic Samp-
son himself was never more absent
minded. The house, it should be
said, fronted on Regent street. sThe
window curtains happened to be raised
and the room was brightly lighted, so
that the view from without was com
modious and uninterrupted. Not
many minutes passed before it began
to be improved. A London crowd is
quick to assemble, and when assembled
difficult to dispense. So it proved
now. Inside the absorbed and mad
vertent comedian unconcernedly went
on acting rip Van Wrinkle" outside
the curious multitude, thinking him
a sort Of comic lunatic, choked up the
street until it became impossible. The
police were summoned, and with diff.
Guilty fought their way to the spot.
The landlady was finally reached and
alarmed, and the astonished actor.
brought back to the world by a clamor
at his door, inquiring if he was i'll, at
length realized the situation and sus-
pended his rehearsal.
The next night the acter made his
debut at the Adelphi, and the British
public instantly took rip Van Win
kle" to its heart. Mr.. Jeferson's
success was great, and it has ripened
into unquestionable, auspicious and
benlhcent performance.
Mr.. Jefferson returned to New
York in August, 1866, and on Septem
Der 3 appeared at the Olympic, pre-
senting the new version Of the play
for the first time in America on that
occasion.
JEFFERSON AS RIP.
Jeferson's persistent adherence to
the character of Rip Van Wrinkle has
often, and naturally, been made the
subject Of inquiry and remark. The
late Charles Matthews once said to
him: Jefferson, I'm glad to see you