Evening star. [volume] (Washington, D.C.) 1854-1972, 1889-09-28
HOW A PLAY WAS MADE.
A Talk With the Author Of ssThe Still
Alarm.o

HOW A PLAY WAS MADE.
Talk With the Author Of ssThe Still
Alarm.'
THE IDEA CAME TO HIM WHILE LYING ON A
SICK BED FROM WATCHING AN ENGINE HOUSE
ACROSS THE srREET-HARD WORK IN TRAIN
ING THE HoRsEs-FIRsT NIGHT IN LONDON.
"How came you to conceive the idea of uti-
iizing fire engine on the stage?" asked STAR
reporter of Mr.. jos. Arthur, the author of the
"Still Alarm"
II was lying sick in Cincinnati" was the re-
ply, land Immediately opposite the house in
which was stopping was an engine house. 1t
was warm weather, and as my windows were
open could look across the street and see the
engine, the horses and the men. could see
the hustle and quick work when an alarm
struck, and then the glad return after the fire
was over. could see in the second story the
hunks OF the men in which they slept and the
t tficks they used to play on each other when
tney were long off duty. 1 could see them
reused from their slumbers by the gong, watch
them slide quickly down the pole, take
their places on the engine and rush off
to fire. Watching the firemen got
70 be passion with me. In fact
it was about all 1 could see. One day sud
denly thought what splendid piece of realism
that scene would make upon the stage The
more thought about it the more firmly con-
WINGED became that there was money in it.
So when l became convalescent 1 made a
sketch OF the scene just you see it now upon
the stage and sent it to firm in New York to
have 1t patented. 1t took some time to get the
patent, and am told that mine was the first
application ever made for a patent for an en-
tire scene. Specific mechanical effects had
been numerously patented. but not an entire
When / cd
which was to be the principal effect, then
commenced to write the play"
"Then you might say that you wrote the
play around the engine house?" interjected
The STAR man.
.'Well, not exactly that, for took consider
able care with my work and bestowed great
deal OF thought upon my plot and characters.
OF course my hero had to be fireman and the
plot had to lead up to the introduction of nv
patented scene, but at the commencement of
my work had no idea of giving INV play its
present title. l wrote it nearly entire and
called it The Plebian,' because l made NV
hero Jack Md'atey one of the people. You re-
member he says In speaking of his love for
Eanore, How can she look on me? I'm only
plebian. l have nothing to offer her but
my hon. sty and love- So called the piece
The Peban.'"
How came you to change the title?"
well, III tell you. After l had completed
the play wanted to be sure that was ali right
to Cincinnati and went into that engine house
that had watched SO long and so intently when
l was i'll. l asked about the alarms and when
l was shown the mechanism asked what would
happen If the wires should be cut. The fire.
man who Was showing me about the place then
said they might get still alarm. asked him
what that was and he explained. That
struck me at once. Here said L
to myself 'is the title for nv play
The Still Alarm" and sent the very next
n taI 4
that nearly the entire dialogue in the engine
house scene descriptive of the ARRANGEMENTS
of the alarm and the duties of the firemen is a
verbatim report of the conversation that took
place between myself and the fireman in Gin
cinnat. OF course, after 1 had changed the
name of the play l had to make some other
changes in the plot and dialogue"
play?"
Il commenced it some time in June. I think
and completed it all ready for rehearsal in
the following February. 1t was in that month
or the first Of March that I sent it to Joe
Haworth, who was then playing in this city in
'Hoodman Blind"
Was Haworth to play the part of jack
ManIey?"
Yes; had contract with him for that part.
but l understand he gave the play to some
Washington critic to read who advised him to
keep out of 1t, as whatever of good acting he
might do would be overshadowed by the en-
certificate that he was not able TO do the work
at the time was ready to bring the piece out.
and that may have been the real cause OF his
not playing in it. Then 1 looked around and
got Harry Lacey and he has been with me from
the start"
who trained your horses for you?"
Lacey and / trained them ourselves and I
can tell you it was hard work Many and MANY
a weary hour did We put in with them before
they learned their parts, but we persevered and
aap 10 r,ya -.
mails never stepped upon any stage. The piece
has been wonderful money maker from the
start, not only in this country but in London.
Speaking OF London, shall never forget the
opening night there. One of the horses was a
little refractory during the day and was very
much afraid that he would balk at the critical
time at night. had had good advance work
done and considerable interest in regard to
the play had been excited. Clement Scott. the
best dramatic critic in London, and Capt Shaw
OF the London fire brigade were in a box
with party of ladies and there
was a good big audience. was
particularly anxious that there should be no
hitch. and so at the commencement of the third
act went around on the stage and utterly for
getful or rather regardless of my dress suit 7
went right into the stall of the horse that was
afraid would fail. petted him and talked to
him. for saw that he was nervous, but when
the gong struck hit him clip on the back
with stick had in my hand, and he bounded
Wv "hN WIN AAio phtSc al the pOle OF the en-
CINE in splendid shape. The scene made an
instantaneous hit and the applause was tre-
mendous l was very anxious to know
what Clement Scott thought of il. and
went around to his box and had a talk
with him and Capt. Shaw. had got lot of
straw and dust upon my pantaloons by being
in the horses stall, but it didn't know it until
overheard one of the ladies in the box saw TO
another: oh, Lilly, dear, look at that man. /
wonder il he thinks it necessary, in order to be
considered eccentric, to 60 and put straw ali
over his trousers?' Then looked at NV neither
eItremities and found that they were NOT in
the best condition, but had not posed for no.
torlety In that respect, can assure you. I
thought that il the lady had only known what
had been doing for the past twenty minutes
she wouldn't have accused me of desiring TO
appear eccentric"
piece?"
"why, bless You, it's being played in London
now and there are also two companies playing
1t in the provinces. I think, although it has
been played good deal in New York, shall
put 1t ON at the Academy Of Music there next
season for run. shall elaborate some of the
scenes, notably that in which Jack smashes the
window and goes down the fire escape. / have
an idea that I can make this wonderfully
effective on the big stage of the Academy and
have my drawings nearly perfected for patent
ing. Idon't claim for the play the highest
merit as . literary production and
yet believe IL IL up to the average standard.
The hero Is not like the usual melo-dramatic
hero, but is consistent we'll drawn and care.