The Topeka state journal. [volume] (Topeka, Kansas) 1892-1980, 1911-01-28

t1cularly admire Joe; poor, unfOrtu-
nate Joe" who tried so hard, and
failed. I'm almost sorry now that,
when Ned and Barker beg him to,
he does not run away.
Coming home on the train, I met
Governor Bailey.
II understand he said to me, that
your new play is a weeper."
Eyes; it's a weeper. Better not go il
you dislike sad plays. Still, members
of the North Bros. Stock Co roared
over Big Adams comedy lines when
they first heard them
And so we went on, from 1 o'clock in
the afternoon to a quarter to s. when
we left to take a train home. .
Out in front Of the theater, a big post
er giving the title of the play; in the
] lobby, a big picture of the author; it
4 looked quite theatrical, except that my
name wasn't in front of the theater
in electric lights. I noticed they did
that for FRITZ Scheff a week OF two ago
at the Schubert, in Kansas City; why
| this partially?
One actor grumbled a little because
the word exit had been left out of
| hi; cue book. The word had been left
out at the close of his lines in the sec
ond act. I don't like to have Adelaide
grumb1ed at that way, so I said:
"It seems to me that an old actor
like you should know enough to get off
| the stage when your cue book Is ex-
hausted- Because the word exit is left
| out here, you wouldn't remain on the
| stage all night, would you?"
| The actor laughed, and said actors
| were like printers: they follow copy,
| even though it falls out the window
In the rehearsal. I was showing
| "Sport" North ('"Big Adam") how to
dyor iy0oo eriY7 ,0rIr
big Adam has tasted elderberry wine,
| and heard of champagne at his home
| in the country, but he has never tasted
| any real champagne. He is always
and pouring out the liquor that has the
| rich gurgle. (Note-"Barker," recluse
in the woods. and man of mystery, ap-
| pears at the Unfair with real cham
payne, and sets big Adam crazy.
| After I had illustrated big Adams"
way Of pulling cork, Mrs. Sport"
| North said of her husband: That's all
| he does around the house now"
AS I sat on the stage, watching the
rehearsal. 1 noticed a number of men
| and women sitting down in the dark
| ness Of the auditorium. I inquired who
| they were, and was told that they were
| members Of the company who were not
| in the cast. The same week my play
! will be presented at the Majestic, these
| Stock company will present 1.-THE Wolf"
| at the Grand. never did care much
for the opposition; I said to Adelaide:
From the way things are going, we
| won't do a thing to The Wolf.
A man came in from the business
| Office of the theater, and whispered to
| me that the entire house had been sold
out for the first night; that the first
| performance would : e witnessed by 200
members of the Kansas Editorial asso-
citation. and by the members of the leg
| islature. And the chart not yet open!
Is 1.-The Wolf" doing equally
| we'll 1 inquired. 1t is not.
eve will send the overflow to the
Grand" the man from the boxoffice of
the Majestic said, Laughing.
mo- I said: lets sell tickets to
our play for the second week. never
| cared a particle for the opposition
Mr. Rlaylock and the members of the
company Strengthened many crooked
places in the play, in adding natural
ness-the arrival of the guests at the
Unfair, their departure, etc They ad-
ded a naturalness and ease to these
scenes that was surprising, in SO short
a time At one place, they discovered
that the author had sent big Adam
out of the house without providing for
his return. big Adam" had departed
at the front door. on the arrival OF
Joe" and Mattel" to put away their
horses. I argued that it was the most
natural thing in the world for Big
Adam" to depart by the front door
on such a mission, and return by way
of the kitchen. And they admitted it
as will my farmer friends. But, alto
gether, the actors said there were few
mistakes in the cue books. And Harry
North said to me:
Don't let anyone, however great he
il in the dramatic world. change the
, essentials of your play; your language
| your situations There are plenty OF
little technical details to attend to
but don't let anyone change your words
or your situations, or your story.
Harry North said at another time:
eff the people in the audience car
understand 'Joe's' grief; his stubborn
ness, you have great play.
'.They can understand it if they car
understand the English language
said, calling attention to the lines il
which, it seems to me, Joes case Is
stated clearly; by Ned. and by joe
himself. Since Mr.. North made the re-
mark, have strengthened both these
! parts as much as can.
On our arrival in Topeka at 10 a. m
on Tuesday, we went direct to the
theater, and I told the story of the
, play to the actors who were to take
part. We sat around little table or
the great bare stage. Adelaide sal
near me, in a chair brought her by
one OF the actors uldn reao the
, play; I gave summary of it from
memory. 1 began by locating it; Civ
> ing the topography of the country rep.
, resented:
1.-The scene opens in 'Joe's' house a
the MILL" I said, "on Christmas eve
II joe and 'MateeP have just been mar.
ried at sMateePs' home, six miles II
this direction (pointing to the east
They are on their way here now, pre-
Stunning that we are sitting IN 'Joe's
. house, at the time the play opens; ter
! or fifteen, or twenty years ago, in the