New-York tribune., 1920-11-14

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went over big, in New York and else.
where.
Tried Out ON Small Towns
Most plays get q try-out in the
smaller cities before they are intrc-
duced in New York. Some Of these
fall fiat in the dog" towns and come
into New York and score heavily.
After the New York success the
play is sent back on the road and fire.
quently gets over brilliantly. The
New York exploitation has made the
play successful on the road. But
that doesn't always follow. Beyond
the Horizon" mentioned before, be-
ing a recent and notable example to
the contrary.
"Peg O. My Heart" one of New
York's most smashing comedy hits
when produced in 1908, was received
with a zero temperature in New
Haven, where the college folk
couldn't see it with field glasses.
After running nearly two years in
New York it went back to New
Haven and played to standing room.
Frequently there have been New
York productions upon which pro-
ducers were willing to gamble their
last dollar that the play wouldn't
fail. "The Skylark," musical
show, produced by Henry B. Harris,
is said to have represented an invest
ment Of 100000 before the curtain
went up at the first performance. 1t
was produced in the New York The
ater, perhaps the "deathbed" for
more big New York failures than
any other playhouse on Broad
way. "The Skylark" failed utterly.
During the tragic run of a few
weeks this story was retailed along
Broadway:
To the Bitter End
Frank Sheridan, the actor, it was
related, met friend and asked him
if he had seen "The Skylark."
eyes," said the friend.
"Sit all through the show?" asked
Sheridan.
~ remained to the end," said the
friend.
GLOW did that happen?" asked
Sheridan in astonishment.
"Well, it was this way" said the
friend. During the middle of the
first act decided to make q rush for
the main entrance, and ! did rush.
But upon reaching the main door
got into the jam of hundreds of 9TH
ers who were headed for the street
and l decided to go back and sit the
show out after I saw half a dozen
policemen with clubs raised in the
! lobby, defantly shouting to the fee
ing men, Back into the theater; back
where you belong. Women and Chill
dren first"
That Chariot Race
Particularly strong situations not
essential to the main acting of the
drama and individual characteriza-
tions have made for the success of
many plays that otherwise would
have failed dismally. 1t was often
asserted that the chariot race made
for the overwhelming success of
"Ben-Hur," although Eddie Cooke
business agent for that organization
over period of fifteen years, says
the chariot race didn't make the play.
1t helped, but the popularity of the
book, the appeal of the story and the
numerous impressive situations all
contributed to the success of Lew
Wallace's drama.
Nevertheless, the stage carpenter
Of "Ben-Hur," according to an old,
old story, firmly believed that the
chariot race, in which his mechanics
figured extensively, put "Ben-Hur"
over, and there is a particular anec-
dote which has to do with a striking
incident in the career of one of these
"Ben-Hur" stage carpenters.
Ben Hur" was produced in Lon
don after many years Of success in
America, and on the occasion of the
premier in the Drury Lane Theater
an enormous crowd applauded the
American production. A. L. Erlan-
ger, one Of the owners Of the produc-
tion, was in a stage box.
At the finale Of the act in which
the chariot race was presented the
audience storr.ed it's approval. The
was raised and lowered many
times. The company and stage crews