For obvious reasons I do not give what any of these authors received for play or option or advance fees; but the total was over nine thousand pounds.
Regarding one of the plays, Irving’s exact reason for not playing it was that he felt it would not suit him—or rather that he would not suit it. He liked the play extremely, and when after studying the scenario very carefully he had to come to the conclusion that it was not in his own special range of work, he obtained permission from the author to submit it to two of his friends in turn, John L. Toole and John Hare. Both these players were delighted with the work, but neither had it in his vogue. Finally another actor saw his way to it, and made with it both a hit and fortune.
The play was Barrie’s The Professor’s Love Story; the actor who played it E. S. Willard. This is a good instance of delayed fortune. For my own part, knowing the peculiar excellences and strength of the three players who refused it, I cannot but think that they were all right. The play is an excellent one, but wants to be exactly fitted. Irving was naturally too strong for it; Toole was a low comedian, and it is not in the vein of low comedy; Hare’s incisive finesse would have militated against that unconsciousness of effect which is the “note” of the Professor.
III
In addition to the above plays on which he adventured wholly or in part Irving made efforts regarding plays by other authors, amongst whom were Mrs. Steel, K. and Hesketh Pritchard, Marion Crawford, Sir Arthur Conan Doyle, Henry Arthur Jones, W. L. Courtney, Miss Mary Wilkins, Robert Barr. These included the possible dramatisation of several novels.
A. W. Pinero was always regarded by Irving as a great intellectual force, and to the last he was in hopes that some day he would have the opportunity of playing in a piece by him. He often expressed his wish to Pinero; and more than once have Pinero and I talked and corresponded on the subject. Pinero, however, would not think of giving Irving a play that would not have suited him. He had for Irving a very profound regard and a deep personal affection. They were always the best of friends and Pinero was loyalty itself. I do not think that any man understood Irving’s power and the excellence of his method better than he did. I fear, however, that that very affection and regard stood in the way of a play; Pinero, I think, wanted to surpass himself on Irving’s behalf.
LX
MUSICIANS
I
Musicians always took a deep interest in Irving’s work both as actor and manager. They seemed to understand in a peculiarly subtle way the significance of everything he did.