“I presume you are thinking of getting back to New York?”
“Nay, nay. What my eyes have beheld there and my ears have heard is enough. My heart is sick within me. I was there at the opening of the season. One Broadway theater was given over to burlesque of the very lowest order, while another was but little better in character. A leading theater close to Broadway was packed every night by well-dressed people who went there to behold a vile French farce, in which the leading lady disrobed upon the stage. Ah, me! In truth, the world hath gone wrong! The ways of men are evil, and all their thoughts are vile. It is well that Shakespeare cannot rise from his grave to look upon the horrors now perpetrated on the English-speaking stage. If he were to be restored to life and visit one of our theaters, I think his second funeral would take place the following day. He would die of heart failure.”
Frank laughed heartily.
“I believe you are right. It would give William a shock, that is certain. But there are good modern plays, you know.”
The actor shook his head.
“I do not know,” he declared. “I have not seen them. If there is not something nasty in the play of to-day, then it must of a certainty have its ‘effect’ in the way of some mechanical contrivance—a horse race, a steamboat explosion, a naval battle, or something of the sort. It seems that a piece cannot survive on its merits as a play, but must, perforce, be bolstered up by some wretched device called an ‘effect.’”
“Truer words were never spoken,” admitted Frank. “And still there are a few plays written to-day that do not depend on such devices. In order to catch the popular fancy, however, I have found it necessary to introduce ‘effects.’”
“You speak as one experienced in the construction of plays.”
“I have had some experience. I am about to start on the road with my own company and my own play.”
Of a sudden Frank seemed struck by an idea.