It is significant that Thomas began his career as page boy in the 41st Congress; that, after his railroad experience, he studied law; and that, after his subordinate work with the newspapers, he became editor and proprietor of the Kansas City Mirror. Since the death of Bronson Howard, he has been regarded as the Dean of playwrights, and once held the presidency of the Society of American Dramatists. Professor Brander Matthews, Mr. William Gillette, and he represent the theatre in the American Academy of Arts and Letters.
IN MIZZOURA
A PLAY IN FOUR ACTS
By AUGUSTUS THOMAS
REVISED 1916 BY AUGUSTUS THOMAS
PREFACE.
This preface is one of a number[1] trying to show, each for its particular play, the manner of the play's conception, whether starting from a theme, a character, or a situation; the difficulty of the start and the larger problems of the story's development, together with the ways considered and chosen to answer them. It has been thought that such accounts might be of interest, and, in some instances, perhaps, helpful to others beginning on the same kind of work.
In the spring of 1891, Mr. Nat Goodwin was one of the most popular and successful, as well as one of the most skilful, of American actors. He had played lively and slight farces almost exclusively; but, having the ability for serious work as well, he was ambitious to try it. In a comedy by Brander Matthews and George H. Jessop, called "A Gold Mine," he had given one or two dramatic scenes most convincingly; and one sentimental soliloquy with a rose in exquisite tenderness. In person he is under the average height[2]; and then, was slight, graceful, and with a face capable of conveying the subtlest shades of feeling. The forehead was ample; the eyes were large and blue, clear and steady. The nose was mildly Roman; the hair was the colour of new hay. His voice was rich and modulated. These points are reported because they helped form the equipment of the "star," who wanted a serious play in which he should be the hero. The order was without other conditions; the play might be of any period and of any land.
My own ignorance fixed certain limitations. At that time I had acquaintance with no other countries than the United States and Canada. These I knew fairly well. I had travelled them with one-night theatrical companies; and also in newspaper assignments; and over restricted districts I had worked in the employment of a railroad company. I didn't care to write from books; so my Goodwin hero was to be perforce an American. It seemed best to make him an American of 1891. Other times and places were excluded and dismissed from mind.
Now, a blond hero five feet seven inches tall and weighing under one hundred and fifty-pounds—a Roman nose, and a steady, steel blue gaze!