Winchell Smith, who made the comedy, "Brewster's Millions", and who is author of "The Fortune Hunter", says he chose dramatic authorship "because you don't have to be grammatical in plays." "I couldn't write a magazine article for a million dollars", he adds, "but dialogue comes easy to me." However, Mr. Smith, like many others of his cult, hates "the drudgery of composition." He likes to plan a new piece, but wishes that the manuscript "could be got out of my head by a surgical operation." Mr. Smith is a tall, slender, diffident young man, with a keen sense of humor and a varied experience. He began life in the grain and feed business in Hartford, and acted for many years in support of that still more celebrated Hartfordian, William Gillette. Langdon Mitchell, author of "The New York Idea", and John Luther Long, author of "Madame Butterfly", both are Philadelphians. Mr. Mitchell won fame as a poet, under the pseudonym of John Philip Varley, before "Becky Sharp" brought him to the attention of theater-goers. Mr. Long, whose ethereal fancies are so charming, pretends to practice the prosaic profession of law at 629 Walnut street.
Eugene Presbrey, grey-bearded, vibrant, intense, devotes himself mainly to the adaptation of novels. "I want the novel that can't be dramatized!" he declares, and, for this reason, he found much pleasure in doing "Raffles." It seemed a hopeless task to win sympathy for a confirmed criminal, and Mr. Presbrey had about abandoned the task, when, one evening in Seventh Avenue, he saw a man running at top speed, a crowd in pursuit, and heard the cry: "Stop thief!" "The fellow was just behind me", says the author, "and, turning around, I got a good view of his hunted, desperate expression. Before I knew what I was doing, I whispered: 'Get up the alley!' And I didn't tell the policeman. 'No sympathy for a criminal!' I exclaimed to myself, when I had leisure to analyze my action. 'Why, every human being is a criminal at heart! He knows that, under certain circumstances, he might be the fugitive, and he feels sorry for the other fellow in proportion.'" Mr. Presbrey wrote "Raffles" in three weeks, and it has been acted in every country that boasts a theater.
I have at my side a list of some thirty men and women who write plays and of whom I could chat indefinitely. Each of these authors is so interesting, all of them have lived so many stories, that it is hard for me to admit a space limit and forebear being their Boswell. There is George Broadhurst, lean and business-like, who made a reputation by his farces, and then, when that had been forgotten, made another by his serious dramas. There is Paul Potter, white-haired, rotund, genial, the intimate friend of Charles Frohman, and the adaptor of "Trilby." There are earnest young William C. De Mille, author of "Strongheart"; Paul Kester, a wisp of a lad, timid and self-conscious, who glories in swashbuckling melodramas and who did "When Knighthood Was in Flower"; Thompson Buchanan, newspaper reporter to his finger tips, who landed a big success in "A Woman's Way" and afterward wrote "The Cub"; Sydney Rosenfeld, the wit and dreamer, one time editor of Puck, who refused to turn out a book sub rosa with Augustus Thomas because he objected to any scheme "which involved pooling our separate fames to become anonymous"; and there are a whole army of brilliant young chaps, like William J. Hurlbut, of "The Fighting Hope", who lives a stone's throw from me at Shoreham, L. I., and Avery Hopwood, who collaborated with me in producing "Clothes", and with Mary Roberts Rhinehart in producing "Seven Days."
I should like to tell you about pretty Margaret Mayo, who has built a villa from the proceeds of "Polly of the Circus", and whose first fame as a playwright was achieved under circumstances described elsewhere in this book. Rachel Crothers is a sedate, New Englandish young woman, who used to teach acting in the Wheatcroft School, and whom I met when she was going from office to office with the manuscript of "The Three of Us." Rida Johnson, famed for "Brown of Harvard" and "The Lottery Man", is tall, dark, fine-looking, and her professional career began when she was leading woman for her husband, James Young, in her first play, "Lord Byron." I can't make you acquainted with people in a line—only Kipling can do that—and a proper description of all our playwrights would fill a volume.
They are, for the most part, a quiet, unassuming lot, constituting, of course, the brains of the theater, and lacking wholly the pose and self-importance of their creature, the actor. They are of the stage, and yet singularly apart from it, the glare of the footlights being merged for them with the soft red glow of the library. I am glad to have been their press agent this little time, for the majority of them are almost unknown to the very throngs they entertain vicariously. The wig-maker has his name on the program in larger letters than they, and the chorus girl receives infinitely more attention from the newspapers. More than any other class of men, I believe them to be actuated by the desire to do fine things. "I want to write plays that add to the joy of life!" exclaims one of the cult, looking over my shoulder. "I shall never write a play that does not contain something of hope and happiness!"
"Margaret Mayo built a villa from the the proceeds of 'Polly of the Circus'"