New-York tribune., 1910-10-23
A NEW PLAYWRIGHT
Butler Davenport Discusses
keeping Up Appearances"

This IS the first play that Mr. Davenport
has had produced. II is not the frst play
that he has ever written Furthernnore'
Nr Davenport has had experience as an
actor. and in his near forty years OF me
he has had an opportunity to study human
nature He is a man OF ideas and Ideals
He shows that in his play. and he showed
IL stiu more in an interview the other day.
Mr. Davenport was seen at his offce. In
the dtn light OF late afternoon he talked
OF his play and his aims. IL was only ny
sheer force OF persuasion that he answered
questions about himself
Like many another playwright and actor
Mr.. Davenport played with toy theatre
when be was a boy. Ee was much IN
terested in amateur theatricals at STAN
ford. Conn, where he spent most OF MS
youth His theatrical aspirations were not
fnterfered with by wise parents, who al
lowed him 10 develop along the line toward
which he showed most inclination. When
he announced his determination to go upon
the stage his father and mother were not
opposeo. SO he came TO New York, a, mere
boy, and went 10 Augustin DAILY. who al
lowed him TO be present at rehearsals.
N.Y. What rehearsals they were! said
Mr. Davenport, as his dark eyes looked
back into the past
He took his first acting part with Charles
Frohnaan's comedians IN The Other Man
He had the advantage Of playing with. Miss
Henrietta Crosman, leading woman of the
company and Joseph Holland. leading man
He stayed with them fer a time, ana then
accepted an engagement with the Lyceum
Theatre Stock Company at Baltimore.
While there he played light comedy parts
sn such PLAYS as The WIFE The Charity
Ball" The Butterfly" etc In four
months he gave up acting and came hack
70 New York 10 enter the real estate bust
ness in 1888. In speaking Of this incident
Mr. Davenport said:
The first year of it was drudgery. The
coIection OF rents. the making Of repairs
znd my dealings with tenants and con-
tractors were irksome TO me. But suddenly
took new point Of view. I realized that
through these very people I might make
my way back to the theatre I began TO
study human nature. and all the people
with whom came in contact became in
teresting TO me"
When did you write your first play?"
Mr.. Davenport was asked.
Three years ago." he replied Il went
10 Carnegie Hall 10 hear a symphony
cert Soon after I became seated a play
began TO unfold itself in my mind. I heard
little Of the music. All the while ] thought
OF the drama I went home. At 10 o'clock
] sat down at my desk and / wrote until
O'Clock in the morning. The result was
the first two acts OF = play that called
Justice II was the first time l had ever
put my pen to paper IN literary way. 1
wrote no more for week. didn't want
TO- Then I wrote the other two acts dur
ing the spare moments Of another week.
And the extraordinary thing is that have
never changed twelve words Of the original
ms
the play is ten years ahead of the times
Another has said that il is i've years in
advance OF the present day. ! hope that
the next one will tell me that il is suitable
xor production now"
Mr. Davenport has also written another
play-of that he had nothing TO say.
Keeping Up Appearances" he said, was
written a year ago last February. He in
\ tended it for production in the little the
N atre in 63d street which he intended to
build, but which he abandoned after The
New Theatre was established But Mr..
Davenport has by no means given up all
thought Of playhouse Of his own He has
some very good ideas Of what plays ought
20 be, and he thinks that the public is pre-
pared for a much better form Of comedy
and drama than is placed before it now
edsys. His plans may be given definite
expression in the not very distant future.
The finished production of Keeping Up
Appearances led TO the suspicion that il
had been given a longer period Of rehearsal
than the customary two weeks.
Yes" said Mr.. Davenport, Eve re-
hearsed the play for four weeks and a
halz'
'tHow did you select your cast?"
THE Messrs. Shubert were very kind
They offered the best cast that money
nl1o- of
players Of recognized ability and reputation.
read each one the play or a portion Of
II, talked with him about il and selected
for each part the one whom / thought best
ntte5 And I was extremely fortunate 90
get such a competent lot OF players.
AT first the play not understood.
Some said the dialogue was difficult because
Il charged frequently. That was because
Of constant interruptions. as there are in
Ordinary conversation. Others said, Why
don't YOU put this scene here and that
scene fhereT Would II not be well for
this woman TO say this and that man that?'
was asked. To all such suggestions / re-
piled that the logical development of the
play from the characters selected in the
first place required such and such thing
st this point and that. would not agree
10 any change for theatrical effect My
ain was 20 give a simple. logical and true
picture OF the natural order of development
H'One actress said: i simply can't say
these lines; X seems TO me the woman
would say so and So Ny dear lady I
replied. YOU win have 20 erfaoe yourself
completely and think and feel just as the
character does
Another said: Shall say this phrase
sn this tone or thatP Think and feel as
the character does replied. and the tone
vii lock ont for ITSELF
Another thought she should have more
lines She was on the stage most Of thu
time. but she thought she had too little 10
Say. Your part is most difficult on that
account I replied. You must act without
words. and the few lines you have 20 speak
must be spoken In just the right way or
you viii spoil the act
M-. Davenport paid tribute 10 the silent
drama He believes thoroughly In the un-
oeriying principle that one must feel deeply,
else one will not be able 20 express con-
vincingly what one has 10 say. Actors In
general be said. have much 20 learn from
the exponents Of this particular form Of
dramatic art IL al the players In New
York were under his direction, Mr. Daven-
port said, he would have them go 10 see
Nine. Pilar-Morin and her excellent COM
Tany. in "L'Enfant Prologue" al the Car
[Nr