The next move was in behalf of the more cryptic, symbolic, hectic, toxic works of the ultra-modern French school, which have been so brilliantly illuminated by their protagonists that thousands of women in the larger cities recognize a master's voice whenever one of his themes is played upon the Victrola.
I shall offer my practically priceless manuscript of "Bluebeard" for production in French at the Metropolitan, and in English at the Century Opera House; meantime Mr. Hammerstein is so impressed with its originality, audacity, and tragic power that he is laying the corner-stone for a magnificent new building and will open and close it with "Bluebeard" in German, if no unforeseen legal complications should prevent.
It is in preparation for all this activity that I issue this brief but epoch-making little work.
KATE DOUGLAS WIGGIN. NEW YORK, February, 1914.
CAST OF CHARACTERS
Bluebeard (baritone). Man of enormous wealth but dubious morals. Pioneer of the trial-marriage idea.
Fatima (_singing_actress_). Innocent, romantic, frivolous blonde type, rich in personal charm, weak in logic and a poor judge of men.
Sister Anne (soprano). Impulsive, magnetic, ambitious, highly marriageable brunette.
The Mother (contralto). Impecunious, mercenary widow, determined to settle her daughters in life without any regard to eugenic principles.
Mustapha (_robust_tenor_). Elder brother; the one who has the fat acting part since he rescues Fatima and slays Bluebeard.