New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1903-12-13
WOULD-BE PLAYWRIGHTS.
Il Managers Struggle zoith Them
and Their Productions.

Do most cranks write plays most play
wrights cranks?
The average play reader will probably declare in
favor Of both theories. though for the most part
he viii insist that even ieaywriting cannot be
solely responsible for the disordered condition of
minds filed with heroes, heroines and situations"
the latter a word dear TO the pIaywriter's heart.
At one time playwrights haunted the Offices OF
managers VINO sent melodramas the road Now
two or three men write most of the meodramas
and the amateur playwrights have been forced TO
turn their attention TO other fields
Since the establishment of the stock company
system in New-York they have been besieging the
managers Of these theatres, making the Proctor
houses their first point OF attack since to have a
play put on here means of four weeks. any
way.
j. Austin Fynes. Mr.. Proctor's general manager,
smiled sadly when he asked If there were not
many humorous incidents connected with the on
slaught Of these embryo dramatic authors.
ITO the outsider" he commented. there is moth
ing but humOr in the majority OF the applications
Personally admit that fail TO perceive the saw
ing grace Of humor until it is too late AS matter
Of fact. seriously OF the opinion that to tho
familiar quotation, oh. that mine enemy might
write a booki should be appended, and not play
In that case the publisher, and not the manasen
would be the sufferer.
The Proctor theatres REQUIRE a weakly cb.nrs
Of bill, and we should be glad TO offer an original
play occasionally, though the greater appeal is ex.
erted by standard modern plays and the revival of
old comedy
In spite OF this have from three to i've appii-
cations a week from people who declare that they
have written modern masterpiece.
Easily the oldest experience with an old
woman who in manner learned that my Office
could be reached from the auditorium Of the Fifth
Avenue Theatre. She purchased an admission
ticket. and the first knew she seated in g
chair by my desk I looked up from my writing
"She explained that she had a manuscript of a
Tnelodrama in rhynei verse. 1t the first of a
new school OF dramatic writing. and Mr.. Proctor
could be the inroducer Of idea destined to revo-
lutionize the art OF playwriting She read part Of
one act before could get her out OF the Office on
my promise to read It over.
The piece would have run about an hour and
half. allowing for three ten-minute internissions
between the four acts. The first three acts wera
poor meiodrama. In the fourth, with no warning
Whatever all the characters were transported TO
maryland She came back the next day TO explain
that she wrote it that way because she thought
might like to introduce a ballet
l made that last act excuse for declining thu
piece. week later she came back with a new Ia Al
act which she left with me. Two days later re-
ceiVed a note. in which she requested the return
or the manuscript, as she was convinced that her
mission would best be served by the posthumou.
production or her works, OF which there wers
ninety-seven- 1t was well for her peace OF mind
poor soul. that she reached that conclusion sha
happy in her work and there could ba Nc
more disappointment.
Another very funny manuscript was the nroduo,
OF 4 lean person, with the fire Of genius and a
hungry look in his eyes He had bulky collection
Of mismated sheets Of writing paper which he de-
clared 10 be a play. In the first act there were
twenty-eight persons on the stage. None of these.
with the exception OF the hero heroine and villain
appeared In the subsequent acts tho scene OF
which was n desert island upon which the thres
had been cast away.
Il pointed out thai theirs was waste OF twenty