The morning news., 1889-04-25
"vrs YOUNG TELLER I'VE READ YOUR

"yEs YOUNG TELLER I'VE READ YOUR
PLAY"
and if you can only get me up the sort of
niece I want we can do little business to-
Rear one thing in mind, and that is 10 adapt
Yourself to the public taste and the resources
of the theater. Are you on?
Dramatist-Certainly, sir; and | shall
onIv be too happy to write something espe-
c,sliv for your theater. l think | can do it
if only get a chance. Sardou is my
model.
in his way but rm looking after something
entirely different. Now l want strong
melodrama and I'm going to call it "Only
a TYNE Writer or the Pulse Of the Great
Metropolis." There are 10000 type writer's
in the CITY and they'll all want to see it and
each of them will fetch her mother or her fell
Ter along with her. Then they'll gable about
if TO all the people they know-nothing like
n lot of women to advertise piece-and if
there's any go in the play at all It'll be talked
about from Harlem to the Battery before
it's been on the boards week. Now, of
course, there's got to be m )ral, in fact,
you've got to come out pretty stro1g with
your moral My idea is this: In the first
act YOU show the pe-wTiter-whoSe folks
areall giltedged people and way up-in
an elegrnt cottage at Newport. She's a
lght-iaarted, innocent girl in white mus
lin dress with blue sash. I'm going to cast
Pearl Livingston for the part and she's al
wavs crazy to make up for an innocent girl
Rec llect you can't spread the innocence
aad implicitly on too thick. Livingston
wants to say a prayer with her hair hang
ING down her back, so ii you can ring that
in some how it III be all the better You
mut give her good entrance, too, or She III
kick like a steer.
Dramatlst-Excuse me, but l don't see
exactly how a typewriter could live In a
Newport cottage.
Nanager-rm coming to that right away
You see this act is just to show her as a
lghthearted, innocent girl, whose father
has always been loaded up with dust, SO
she's never known what it was to hoiler for
a seal skin sacque and not get it. But In
the end of the act the father goes broke and
excaims. "Merciful heavens, we are beg
gersm and drops dead. His wife gives a
Shrek and all the society people
rush on from the wings so as
to make a picture at the back, while the
daughter, that's Livingston you know,
takes the center of the stage and says, "No,
mother" or mommer would sound more Of
f5ctionate, may be, mo, mommer," she
saws, mot be2gars yet, for l will work for
your Curtain Are you on to the ldeaa
Dramatlst-Well, believe l understand
your scheme so far. But who's the hero
and where do you get your comedy ele-
ment?
Manager-Oh, the comedy's easy enough
to manage and as for the hero l forgot to
tell you that he shows up in the first act
and wants to marry her. but she gives him
the bounce because he's poor as a crow.
Better make him an artist or something of
that sort. 1t might be a good idea to have
him reporter and then he can read some
good strong lines about the dignity of his
profession or something of that sort just so
as to catch on with the press boys Well,
the next act shows the girls living in gar.
ret in New York, supporting herself and
her mother by type-writing. Lay it on
thick about their being poor and industri-
Gus and all that, and have some coed lines
about the noble working girl or the virtu-