New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1915-05-16
BY ROBERT GRAU.


"%HE experiences Of the first American play
wright with original American plays were
no different from those passed through
bv the modern author. After the first hit
Il was found that manuscripts of the successful
playwright were lying in managerial sanctums
covered with dust. The press and the public hsv-
ing acclaimed the new playwright, these manu-
scripts became extraordinarily desirable and later
successful, productions.
BARLEY Campbell wrote the majority OF the
plays over which two continents have raved be-
fore he scored a sensational hit with "The Galley
Slave" Campbell was lanky, awkward figure
80 familiar 20 the frequenters OF the theatrical
Rialto Of a generation ago that for years he was
regarded as harmless crank. In fact any author
who hsrbored the deusion that play by native
writer would go over" in those days was viewed
with suspicion. Such producers as Augustin DAILY
and A. NJ. Palmer were absolutely opposed TO
home made plays Each employed adapters whose
province II was 20 study the foreign play mar
kets The attitude Of the producers, however was
wholly justihabe in view Of the type Of play that
was meted out so the public by our own play
wrghts. The mere announcement OF an Ameri-
can play was enough TO kill It's chances, In
period Of more than ten years Bronson Howard
alone provided a native drama compelling enough
10 attract paying audiences
Such American plays as were revealed 70 tho
people from 1870 10 1880 were either financed by
the authors themselves or By some sspirsnt
% stellar honors who was thus enabled TO attain
a long cherished smbtion. In many instances
IN. first nights were also the last nights while
even the distribution Of choice seats In the de-
partment stores failed TO attract more than
corporals guard after the premier.
.TgF GALLEY SLAVE" BREAKS THE HoOD00
WHILE THE AUTHOR REMAINS POOR
=, WAS the same BARLEY Campbell, too, who
broke down the hoodoo against American plays
When "The Galley Slave" scored and several
eornsnies were simultaneously presenting II on
tour 20 capacity audiences, Campbell was sti
40 impoverished--for he had sold the rights OF
production for . song-thst he had pledged the
manuscript. Of several other plays IN order 70
,rov;da for his maintenance, but he still pos
sessed the manuscripts Of "My Partner The
White Slave" Fate" Peril" and SIBERIA" or
th.s, the first two are yet potent with stock com
NAMES and all are due 20 be pieturized for tho
motion picture screen Despite the preesrious
era in which he lived, Campbelfs earnings Tor
many years averaged $4,000.
Less than ten years ago, in smother generation
and in q far more propitious era Of the theatre,
Eugene Walter was so poor while the manuscript
Of his play paid in Full" lying dormant in
the Office OF theatrical hrm that he has since
acknowledged that he slept in Bryant Park for
want Of q better place of shelter. paid In Full"
was sn,My accepted by smother theatrical firm, the
Members Of which claim TO have made nearly half
a million dollars out Of H.
MANUSCRIPTS LONG LADEN WITH DUST co
THROUGH CLEANING PROCESS.
Like Campbell. Walter began to shake the dust
of Of his long accumulated manuscripts all OF
which quickly found a market. In three years he
wal, rich man. with royalties exceeding 100000
annually 10 his credit Nearly all OF waters sue,
eessss were written before "Fs'' IN run ''s''ea