New-York tribune., 1910-11-06
SUCCESSFUL PLAYWRIGHT
w. Somerset Maugham, English
man. Talks About His Art.

is glad that he didn't come TO America be-
fore because he was not ready for it. Now
he is He even likes the skyscrapers.
which all of his friends told him were
hideous
You may not believe it," he said. but
my very first view of New York was most
extraordinary. When / awakened last Sun
day morning we were lying off Staten
Island. The city enVeloped in an
opalescent mist, and il rose out OF the sea
like a scene from the AIhambra. 1t was
wonderfu1-quite the most beautiful thing
have ever seen"
Mr Maugham's dark eyes flashed delight
he told OF how kind everybody is to him
here.
i am quite helpless, you know, in getting
about So ! have 10 ask questions. And
everybody puts himself out to be nice to
me. l am told that it is very easy to go
about here. but / don't find IL But
when get lost all have tc DO is TO call
taxicab and | am back al my hotel before
know it. You see, the American people
have been so very good TO me in going to
my plays that I want to pay them back
in a way and the quickest means of Going
il is by hiring 'taxis'.
What / enjoy most of all here is the
weather-it has been wonderful. You know
what our London climate is"
Mr. AIaugham will stay in this country
about six weeks. He says he isn't going to
try 10 see too much Of it He viii go TO
Boston, Washington and possibly Chicago
Next Monday he viii go TO Philadelphia TO
see Miss Billie Burke in his own play,
Mrs. Dot" in which he has never seen
Miss Burke act Last Monday night he
saw John Drew in Smith, which is an
other of his plays. Besides these plays
Americans have also seen his Penelope
cd IoCf
season; Lady FREDERICK in which Miss
Ethel Barrymore starred, and Jack
Straw" in which Mr. Drew played.
Most of your plays seem to be OF the
London smart set Mr.. Maugham," the in
terviewer said.
Yes" the author replied. THAT is large
ly because the smart set supplies practically
the only people available during the hours OF
the day when / want them-it is a technical
necessity of play writing. One of the diff
culties of the playwright is selecting cir
Gle In Penelope ] chose doctor for one
Of my characters, because he was always
on the premises. incidentally if may be
said here that Mr.. Vaughan studied to be
a doctor himselfD
Another reason | select the smart set
is because they wear smart clothes which
audiences insist upon seeing and which
actresses insist upon wearing. You may
emphasize as much as you please that your
characters are living on small income,
brt the people won't believe it If the lead
ing woman is dressed in expensive gowns.
II is very difficult for author to per-
sllade the players to dress in the clothes
of the middle Glars of life.
After the author has selected his circle
ne is principally concerned with the draw
ing of characters that viii engage the SYM
pathy OF the audience. Sympathy is the
most ticklish thing Of all. one never
knows how the audience viii feel about
certain character. 4 character may have
ali the virtues yet not be liked. On the
other hand il may have most Of the vices
rlat mankind is heir 10. YET have the - M
pathy of the audience. Lady Macbeth is
perhaps the most striking example OF the
latter type
When your play is finished you can't be
sure that il will go until il is produced on
the stage with a real audience before the
footights. A play is not a play until il is
acted A play consists of three things
words. actors and audience. To be inter
esting it must first interest the writer, then
The actors, and. finally, the audience"
DO you believe in changing play in re-
hearsal for theatrical effect?" Mr.. Maug-
ham was asked.
NO; at least not play by a recog-
nized author. Each character, each situa-
ton in play, is the product of the au
thors imagination. II shows his point of
view II cannot be altered at the sugges-
ton OF q mana ger. If the play is a sue
cess, all well and good. If it is not-better
luck next time. ! have always found the
managers very considerate about that
point OF course, in the case of q novice,
changes may be made 10 advantage
Have you ever changed any of your
rlays?"
Yes, in one of my first plays, The Ex-
plorer,' ] realized on the opening night that
had given away the whole story in the
second act / felt that from the way the
audience took it. I-revised the play and II
much improved"
TO what do you attribute your success
a playwright
ITO my ability to write dialogue that will
amuse. Al first ] couldn't do that But
have learned how 10 do il. ! sometimes
wonder why the people laugh. l have
never had the reputation of being hu-
morist in conversation, but my lines seem
10 arnuse- Sometimes, however, the things
that ! think are very funny will not get
over the footlighls at all On the other
hand. the audience will often laugh at
things that do not in the least seem funny
10 me"
Was il difficult for you TO get your first
play accepted"
Yes: 4 is quite different in England
from what il is here and in Germany. In
London one has TO write plays for about
ten years before he gets a hearing And
then II Is often a mere matter of luck if
he has one accepted. a manager may have
q failure his hands and ne viii say:
III give this fellow a chance. ] don't ex-
pect the play Will go. but let's try it OUT
Contrary 10 expectations the play may
prove 20 be a success. Then The play
wrights name is made. And all the man
ayers are after him He has two or three
pieces playing al the same time Then the
critics say he is overwriting. whereas he
is simply disposing Of plays which he has
been writing for decade.
Il have play called "A Man Of Honor
which Mr.. Frohman is TO produce over
here. II was written some years ago and
was played in London before Lady Fred
erick.' II is a serious play. One always
grows more serious. you know. as one
grows younger"
rs IL play Of the smart set?
No; IL is about barmaid."
How many plays do you write a year?"
Two usually"
Is Mr.. Frohman 10 produce all OF your
plays in this country?